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Full text of "Some acrostic signatures of Francis Bacon, bacon Verulam of Verulam, viscount St. Alban, together with some others, all of which are now for the first time deciphered and published"

HHtnmiHinniMiniiHininiRiHiHiHMttfluuiiHiiiinHiiiw 






1 pOMEj ,M, 

ACROSTIC SIGNATUEl 

OF FRANCIS BACON? 



WILLIAM STOME BOOTH;!] »""««" 

iiijl 1 i 



iHsiiiimu 



SOME ACROSTIC SIGNATURES OF 
FRANCIS BACON 



PROLOGUE 

The greatness of ike prize induced (Edipvs . . . to accept 
the condition and make the trial: who presenting himself full 
of confidence and alacrity before the Sphinx, and being asked 
what kind of animal it was which was bom four-footed, 
afterwards became two-footed, then three-footed, and at last 
four-footed again, ansirered readily that it was man; who 
at his birth and during his infaricy sprawls on aU four, hardly 
attempting to creep; in a little while walks upright on two feet; 
in later years leans on a walking-stick and so goes as it were on 
three; and at last in extreme age and decrepitude, his sinews 
aU failing, sinks into a quadruped again and keeps his bed. 

This was the right answer and gave him the victory ; where- 
upon he slew the Sphinx. . . . 

The fable adds very prettily that when the Sphinx was 
subdued, her body was laid on the back of an ass : for there is 
nothing so subtle and abstruse, but when it is once thoroughly 
understood and published to the world, even a dull tint can 
carry it. 

Or THE Wisdom of the Ancients, by Francis Bacon, 1609. 
Translation by Spedding, 1858, xxvm. The Sphinx, or Science. 



SOME 

ACROSTIC SIGNATURES 

OF FRANCIS BACON 

BARON VERULAJI OF VERULAM, VISCOUXT ST. ALBAN 

TOGETHER WITH SOME OTHERS 

ALL OF WHICH ARE NOW FOR THE 

FIRST TIME DECIPHERED 

AND PUBLISHED 

BY 

WILLIA^I STONE BOOTH 




^iWMiftfP^^ 



BOSTON AND NEW YORK 

HOUGHTON MIFFLIN COMPANY 

®lje KitJcrsiOE l^xt&s CambrtDge 

1909 



■9%'!^'^^ 

.t-1 



COPYRIGHT, 1909, BY WILLIAM STONE BOOTH 
ALL RIGHTS RESERVED 

ENTERED AT STATIONERS' HALL 

Published May^ iqoQ 



LIBRARY of CONGRESS 

Two Cooin" Received 

APR 23 ltt09 

CLASS (X- XXC No. 



t 



1 : 

^ i-'--'^ TO MY WIFE 

WHOSE CONFIDENCE AND SYMPATHY 
^ '-'' ENABLED ME TO COMPLETE 

THIS BOOK 



PREFACE 

It is ungracious to destroy a pleasing illusion, and this book is not 
written with that purpose. It is written solely in the interest of 
Science — in this case, the Science of Biography. 

By the simple process of cancelling one inference against another 
I came to the conclusion that what was left of the biography of 
Shakespeare was a few facts about the Actor, and the work of the 
Poet. I had already read and thought much about what we know 
of the work and the mental habits of Francis Bacon, and, like 
others, had been struck by the many seeming points of contact — 
and with one or two which were more than seeming — between his 
work and that of Shakesiieare. 

As a mere step in a scientific enquiry I turned to see if Bacon 
could have signed his name to works for which he was sujiposedly 
resi^onsible, by some such cipherer's trick as that of Francesco 
Colonna, and after some methodical tests I found that he, or others, 
had done so. 

I confess that I was daunted at the outset of my work by the 
personal obloquy that has been heaped upon scholar and charlatan 
alike by the men who are content with the inferential method of 
writing literary history; but, reflecting that life is short and that 
a little obloquy does not do much harm, I decided to make known 
these acrostics in the hope that their discovery might lead men to 
approach the problems of biography in a more scientific si^irit. 

The man who in recent years has expressed in the bravest words 
the spirit in which we should approach such a problem as that with 
which this book deals, is Gaston Paris, in a lecture delivered at the 
College de France in 1870, when the German armies were surround- 
ing the walls of Paris, and French patriotism was scouting German 
science. He said : — 

' Je professe absolument et sans reserve cette doctrine, que la 
science n'a d'autre objet que la verite, et la verite pour elle-meme, 
sans aucun souci des consequences bonnes ou mauvaises, regret- 
tables ou heureuses, que cette verite pourrait avoir dans la pratique. 
Celui qui, par un motif patriotique, religieux, ou meme moral, se per- 



viii PREFACE 

met dans les faits qu'il etudie, dans les conclusions qu'il tire, la plus 
petite dissimulation, I'alteration la plus legere, n'est pas digne d'avoir 
sa place dans le grand laboi-atoire, ou la probite est un titre d'admis- 
sion plus indisjiensable que I'habilete. Ainsi comprises, les etudes 
communes, poursuivies avec le meme esprit dans tous les pays civi- 
lises, forment au-dessus des nationalites restreintes, diverses et sou- 
vent hostilee, une grande patrie qu'aucune guerre ne souille, qu'aucun 
conquerant ne menace, et ou les ames trouvent le refuge et I'unite 
que la cite de Dieu leur a donnes en d'autres tem^is. 

' Cette disposition d'esprit, qui est et doit etre la mienne, je desire 
qu'elle soit la votre en quelque mesure.' * 

Bacon was ahead, not only of his own time but also of the present, 
when he wrote {De A-iir/mentis, book vi, S23edding's translation) of 
the methods of teaching and of the transmission of knowledge. He 
styles the first difference of method Magistral, or Initiative. ' The 
magistral method teaches; the initiative intimates. The magistral 
requires that what is told should be believed ; the initiative that it should 
be examined. The one transmits knowledge to the crowd of learn- 
ers; the other to the sons, as it were, of science. The end of the one 
is the use of knowledges, as they are now; of the other the continu- 
ation and further progression of them. Of these methods the latter 
seems to be like a road abandoned and stopped up ; for as knowledges 
have hitherto been delivered, there is a kind of contract of error be- 
tween the deliverer and the receiver; for he who delivers knowledge 
desires to deliver it in such form as may be best believed, and not 
as may be most conveniently examined; and he who receives know- 
ledge desires present satisfaction, without waiting for due enquiry; 
and so rather not to doubt, than not to err; glory making the deliv- 
erer careful not to lay open his weakness, and sloth making the 
receiver imwilling to try his strength.' 

Scientifically speaking, there can be no such thing as orthodox or 
unorthodox scholarship. Such phrases belong to the bygone age of 
the ecclesiastical pedagogue. The man who allows his inferences to 
crystalHse into an ' orthodox opinion ' is on the highi'oad to oblivion, 
or is courting the ridicule of posterity. Literary history is a science. 
It is a matter of facts. No lasting history can be built on opinion, 
and no scholarship which is afraid of enquiry can retain respect. 

' La Chanson de Rolanrl el la Nalionalile /ranfaise, in ' La Poesie du moyen age.' First Series, 
third edition, 1895, pp. 90-91. 



PREFACE ix 

The main conclusion we reach after examining many first known 
editions of works of obscure authorship is that it is imsafe to base 
our scholarship on any man's inferences or reports. We must see the 
original document, and study it in the light of the hterary practice or 
habit of its time. 

I take this opportunity to express my gratitude for suggestions, 
criticism, and encouragement, to my friends Mrs. Lucien Howe, Mrs. 
G. H. Parker, T. T. Baldwin, R. A. Boit, W. B. Cabot, W. C. Chase, 
J. Koren, C. E. Merrill, Jr., Alonzo Rothschild, W. L. Stoddard, and 
H. F. Stone. 

Mere thanks are inadequate to express my debt to my friends John 
A. Macy, G. H. Parker, and R. T. Holbrook, who have greatly im- 
proved my manuscript by their painful reading and generous criticism. 
I am indebted to the latter friend for much of the text with which 
the third chapter opens. In its early stage my work was materially 
aided by Mr. H. G. Curtis, who lent me his superb copy of the first 
edition of Selenus, and I have derived constant inspiration from the 
works of the late Rev. Walter Begley, a remarkably fertile scholar 
with an accurate imagination. My one regret is that he is dead, and 
that I cannot show him what is, after all, so far as I am concerned, 
but the testing of some of his brilliant theories. 

The openhandedness with which rare books were placed at my 
disposal by the Boston Public Librai-y, the Library of Harvard Uni- 
versity, and the Library of Congress has lightened my work; and by 
their skilful handling of typogra])hical problems the gentlemen of 
The Riverside Press have helped me to make the truth still more 
plain; but I value not less my Publishers' ready and generous co- 
operation. 

W. S. B. 

Cambridge, Mass., March 13, 1909. 



CONTEXTS 



PART I. INTRODUCTORY AND EXPLANATORY 

I. At the Outset 1 

II, The Users of Ciphers 6 

III. Anonymity and Pseudonymity 14 

IV. Method 35 

V. Practical Specimens of Acrostics and Structural Signatures 45 

PART II. SIGNATURES OF FRANCIS AND ANTHONY BACON, WHICH 
APPEARED IN WORKS ORIGINALLY PUBLISHED ANONYMOUSLY, 
OR OVER THE NAMES OF OTHER MEN : TOGETHER WITH A FEW 
NAMES WHICH HAVE BEEN FOUND WOVEN INTO SOME OCCA- 
SIONAL VERSE OF ELIZABETHAN AND JACOBEAN TIMES 

VI. The Arte of English Poesie — The Partheniades .... 96 

VII. Venus and Adonis — Lucrece — Shakespeare's Sonnets — 
The Passionate Pilgrime — A Lover's Complaint — Poems 
Written by Wil. Shake-speare. Gent — The Phcenix and the 
Turtle 124 

VIII. ' Doubtful ' Plays — Pericles, Prince of Tyre — Two Noble 

Kinsmen 183 

IX. Plays which have appeared anonymously, or over the Name 
OF Christopher Marlowe — Tamburlaine the Create — 
The Famous Tragedy of the Rich Jew of Malta . , , . 200 

X. England's Helicon — Palladis Palatium 223 



xii CONTEIS'TS 

XI. Some Poems which have appeared under the Name of Edmund 
Spenser: and Some Prose which has been attributed to 
Edward Kirke 231 

XII. Mr. William Shakespeare's Comedies, Histories, and Tragedies, 
which have been assigned to the Actor William Shakspere. 
{First Folio edition.) 290 

XIII. Richard II, Quarto, 1597. Romeo and Juliet, Quartos, 1597 and 
1599, compared with Folio of 1623. Richard III, Quartos, 1597 
and 1602. Titus Andronicus, Quarto, 1600. Hamlet, Quartos, 
1603 AND 1604. Othello, Quarto, 1622 524 

XIV. Acrostics made in an Identical Way, by John Milton, Ben 

JoNSON, Joseph Hall, and (?) Richard Barnfield .... 550 

XV. Instances of Work acknowledged by Francis Bacon in which 
Similar Acrostic Signatures are found constructed by the 
Same Method as are those which have preceded .... 582 

Conclusion 606 

Epilogue 607 

Appendix — 
I. Further Remarks on False Names and Pen Names, and on 

the Survival of Works which seem to contain no Name 611 
II. The Use of Acrostics in Ancient Times 615 

III. The Spelling of Francis Bacon's Names and Titles . . . 617 

IV. Books on Ciphering and Deciphering 620 

Index 621 



PART I 

i:ffTEODUCTOKY AND EXPLANATOEY 



SOME ACROSTIC SIGNATURES OF 
FRANCIS BACON 



CHAPTER I 
AT THE OUTSET 

In printing this book I wish to present, as concisely as I can, some 
acrostics which have come to my notice. Each of these acrostics is 
accompanied, wherever possible, by a photographic facsimile, from 
the earliest known edition, of the page to which it refers; and ac- 
companying each facsimile are a few words of description to enable 
the reader to see the acrostics clearly. 

Most of the acrostics show the name of Francis Bacon, his title, 
and armorial motto; a few show the names of his brother Anthony, 
Ben Jonson, John Milton, and Leonora Baroni. In a few cases, 
where the acrostics are not structural signatures, they seem to have 
been used to lend point to compliment or satire. 

I have made my book in two divisions. Part I consists of a short 
historical review of the few important aspects of the subject ; a care- 
ful explanation of the method by which the acrostics are made, and 
are to be found ; and a score or so of other acrostics and structural 
signatures. The reader can thus familiarise himself with a habit 
which has prevailed among many writers through many centuries. 

Part His devoted to the signatures, directions for finding them, 
and to the facsimiles of the pages in which they are to be found. 

The reader who intends to follow me through Part //will find it 
necessary to master thoroughly the chapter on Metlwd in Part / 
and to familiarise himself with the practical Specimens which lie 
next to that chapter. 

To seek letters in alternate directions on each succeeding: line 
will require a little practice ; and at first it will not be found easy to 
fix the attention on initials, on terminals (the first and last letters of 
a word), on capitals, etc., as the case may demand. Patience will be 
needed, and some intelligent direction of the imagination, and the 
analytical faculty. 



2 SOME ACROSTIC SIGNATURES OF 

The discovery of these acrostics was the result of study in the 
cryptography of the sixteenth and early seventeenth centuries, that 
is to say, in the cipher codes which were the tools used by ambas- 
sadors, intelligencers, and men who were directly or indirectly in the 
service of the governments of those days. 

Every student of history and of literature is aware of the abund- 
ant literature of cryptography, and of the constant jiart that ciphers 
played in diplomatic and semi-official despatches between officials 
and their agents at home and abroad. The student of alphabetical 
ciphers quickly becomes aware that acrostics and anagrams are close 
variants of more recondite mathematical arrangements of tj^pes, or 
letters to be seen in ciphers. He will be inclined to regard all such 
xises of letters as sprung from a very ancient habit — that, namely, 
of using signs to express meaning. The official cryj^tography of the 
times of Elizabeth brought into play a vei-y high order of intelligence. 
To decipher a difficult despatch, which had been intercejrted, re- 
quired not only a keenly developed analytical faculty, but often a 
wide knowledge of languages and mathematics. It would follow nat- 
urally that a man learned in the art of ciphering would find it easy 
to make an acrostic or an anagram. His occuj^ation would suggest to 
him many a trick for hiding his name, if he wished to do so. The art 
drew into its service chemistry, curious cabalistic mysticism and in- 
genuity, astrology, mechanics, and, as has been remarked above, 
lanjruaofes and mathematics. I shall show later that the use of an 
acrostic as a structural signature, before the days of the title-2)age 
and printing, is of great antiquity. Its more general use in the late 
sixteenth and early seventeenth centuries is seen in the weaving of 
the name of a patron or friend into a poem. The use in both ways 
seems to have spread at that time, with the influence of Italian genius, 
throughout the more polite literatures of Europe. Elizabethan litera- 
ture is liberally strewn with acrostics and anagrams. 

Students of talent or genius often found their best means of sup- 
port in the service of the nobles and gentlemen about the Court, and 
their fortunes often depended upon the good will of their patrons. 
Such men were Spenser, John Davies of Hereford, and Ben Jonson, 
to give three well-known writers as examples. Such men have given 
us a large part of our literature, and it does not surprise us to find 
them making use of the devices and courtly literary tricks and amuse- 
ments of their day. Who does not remember Malvolio's attempt to 



FEAI^CIS BACON 3 

find his name in cipher in tlie forged note which Maria let fall in his 
path? Most readers of Volpone have noticed the acrostic which Ben 
Jonson ran down the side of the ' Argument ' to that play. Thomas 
Howell's Devises contain many good acrostics; and indeed what 
student of Elizabethan and early Jacobean literature could not find 
enough specimens to fill a large volume? 

So far as they are knmvn, however, they are almost always to be 
seen woven in verse ; especially in complimentary verse, where they 
were regarded as an ornament. They were one of the legitimate 
amusements of the day. J. R. Green, in writing of Elizabeth {Short 
History, 1890, p. 374), alludes to the ' love of anagrams and pueril- 
ities which sullied her later years.' A clever anagram, or acrostic, was 
one of the bye-paths to Queen Elizabeth's favour, and Green's un- 
necessarily contemptuous remark is confirmed by the author of The 
A.rte of English Poesie (Arber's edition, 1895, p. 123), who, ' seeing 
this conceit so well allowed of in France and Italy, and being informed 
that her Majesty took pleasure sometimes in deciphering of names, 
and hearing how divers Gentlemen of her Court had essayed, but 
with no great felicity, to make some delectable transpose of her 
Majesty's name,' says, 'I would needs try my luck, for cunning I 
know not why I should call it, unless it be for the many and variable 
applications of sense, which requireth peradventure some wit and 
discretion more than of every unlearned man, and for the purpose I 
took me these three Avords (if any other in the world) containing in 
my conceit greatest mystery, and most importing good to all them 
that now be alive, mider her noble government. 

' Elissabet Anglorum Regina. 

' Which orthography (because ye shall not be abused) is true and 
not mistaken, for the letter Zeta, of the Hebrews and Greek, and of 
all other tongues, is in truth but a double SS. hardly uttered, and H. 
is but a note of aspiration only and no letter, which therefore is by 
the Greeks omitted. Upon the transposition I found this to redound : 

' Multa regnabis ense gloria. 

' By thy sword shalt thou reign in great renown. 

' Then transposing the word (ense) it came to be 

' Multa regnabis sene gloria. 

' Aged and in much glory shall ye reign. 



4 SOME ACROSTIC SIGIN-ATURES OF 

' Both which results falling out upon the very first marshalling of 
the letters, without any darkness or difficulty, and so sensibly and 
well appropriate to her Majesty's person and estate, and finally so 
effectually to mine own wish (which is a matter of much moment in 
such cases), I took them both for a good boding, and very fatality to 
her Majesty appointed by God's providence for all our comforts. 
Also I imputed it for no little good luck and glory to myself, to have 
pronounced to her so good and prosperous a fortune, and so thank- 
ful news to all England, which though it cannot be said by this event 
any destiny or fatal necessity, yet surely is it by all probability of 
reason, so likely to come to pass, as any other worldly event of things 
that be uncertain, her Majesty continuing the course of her most 
regal proceedings and vertuous life in all earnest zeal and godly 
contemplation of his word, and in the sincere administration of his 
terrene justice, assigned over to her execution as his Lieutenant 
upon earth within the compass of her dominions. 

' This also is worth the noting, and I will assure you of it, that after 
the first search whereupon this transpose was fashioned, the same 
lettei's being by me tossed and tranlaced five hundred times, I could 
never make any other, at least of some sense and conformity to her 
Majesty's estate and the case. If any other man by trial happen upon 
a better omination, or whatsoever else ye will call it, I will rejoice to 
be overmatched in my device, and renounce him all the thanks and 
profit of my travail.' 

His opinion of his own amusement is worth hearing. He says, 
' When I wrate of these devices, I smiled with myself, thinking that 
the readers would do so too, and many of them say, that such trifles 
as these might well have been spared, considering the world is full 
enough of them, and that it is pity men's heads should be fed with 
such vanities as are to none edificationnor instruction, either of moral 
virtue, or otherwise behooveful for the common wealth, to whose 
service (say they) we are all born, and not to fill and replenish a whole 
world full of idle toys. To which sort of reprehenders, being all 
holy and mortified to the world, and therefore esteeming nothing that 
savoureth not of Theology, or altogether grave and worldly, and there- 
fore caring for nothing but matters of policy, and discourses of estate, 
or all given to thrift and passing for none art that is not gainfull and 
lucrative, as the sciences of the Law, Physic, and merchandise: to 
these I will give none other answer than refer them to the many trifling 



FEANCIS BACON 5 

poems of Homer, Ovid, Virgil, Catullus and other notable writers of 
former ages, which were not of any gravity or seriousness, and many 
of them full of impudieity and ribaldry, as are not these of ours, nor 
for any good in the world should have been : and yet those trifles are 
come from many former siecles unto our own times, uncontrolled or 
condemned or suppressed by any Pope or Patriarch or other severe 
censor of the civil manners of men, but have been in all ages permitted 
as the convenient solaces and recreations of man's wit. And as I can- 
not deny but these conceits of mine be trifles : no less in very deed be 
all the most serious studies of man, if we shall measure gravity and 
lightness by the wise man's balance, who, after he had considered of 
all the profoundest arts and studies among men, in the end cried out 
with this Epyphoneme, * Vanitas vanitatum et omnia vanitas.' Whose 
authority if it were not sufficient to make me believe so, I could be 
content with Democritus rather to condemn the vanities of our life 
by derision, than as Heraclitus with tears, saying with that merry 
Greek, thus, — 

' Omnia sunt risus, sunt pulvis, et omnia nil sunt. 
Res hominum cunctae, nam ratione carent. 

' Now passing from these courtly trifles, let us talk of our scholas- 
tical toys,' ' . . . and so he passes to them. 

' The Arte of English Poesie. Quoted from the unnumbered cancelled pages which are to 
be found in a copy bearing Ben Jonson's autograph. Arber says that so far as his knowledge 
goes this is the only copy known to contain these cancelled pages. It is in the Grenville col- 
lection in the British Museum. (See Arber's edition, 1895.) I have followed Spedding's plan 
in modernising the spelling of my quotations from this book; and have inserted a few 
commas to make plainer the meaning for those unused to the punctuation of this period. 



SOME ACROSTIC SIGN^ATURES OF 



CHAPTER II 

THE USERS OF CIPHERS 

As the study of ciphers in their relation to the literature of their 
day has hitherto been allowed by scholars ^ to remain largely in the 
hands of credulous persons and charlatans, it may be of interest if I 
give a short account of the class of men who were expected to be 
responsibly conversant with the art and practice of ciphering. The 
class may be represented by two well-knoAvn men whose work is 
open to all students — Anthony Bacon, the brother of Francis, and 
Sir Henry Wotton. 

These two men were contemporaries, and each was engaged dur- 
ing the larger part of his life in sujaplying his sovereign with 
information about the secrets of foreign Courts. Each had capable 
educated men in his immediate personal service, or going to and fro, 
with express despatches, between London and different correspond- 
ents on the Continent and in Scotland. Each had served a similar 
apprenticeshijj to what was then regarded as the first step in the 
diplomatic service, for a young man of good birth and with his 
way to make in the world. Anthony Bacon built up so important 
a service as an intelligencer for his friend and patron Essex, that 
Queen Elizabeth came to carry on her official correspondence 
through Essex, to the embarrassment of her responsible minister 
Burleigh, and of his son Robert Cecil. 

Wotton's letters bring into use many ciphers, and constantly 
allude to other cipher despatches. He frequently enclosed a cijiher 
code for the use of his correspondents in reply. His despatches 
show that part of the recognised business of an ambassador to a 
foreign Court was to intercept the despatches of the envoys of other 
Courts, and to regard philosophically the interception of his OAvn by 
another. Provision was often made for this by the despatch of a 

1 So far as I know, Mr. W. W. Greg stands alone in liis careful and intelligent examina- 
tion of the work of so-called decipherers in this tield. See his article on Bacon's ' Biliteral 
Cipher and its Applications,' in The Library, 1902, series 2, vol. iii, pp. 41-53. I allude else- 
where to his admirable edition of Henslnwe's Diary, in which he has now given to us the text 
free from the forgeries of some misguided scholars. 



FEANCIS BACO^ 7 

false message in one direction and a trne one in another. Messen- 
gers were waylaid and sometimes left for dead, and Wotton himself 
half-humorously excuses himself for keeping in his employment 
an unprincipled ruffian, with the reflexion that by so doing he was 
preventing the employment of the fellow against him. 

On page 63 Avill be seen one of the simplest methods of sending 
a message in cipher. It is from the first printed edition of Selenus's 
CryjJtomenytices et Gryptogrcqjhiae, published at Luneburg in 1624. 
This book is in large part an exposition of the Steganogra/phia of 
Johannis Trithemius, and of the De Furtivis Literarum Notis of 
J. B. Delia Porta, earlier and rarer works. We read in Mr. Logan 
Pearsall Smith's Life and Letters of Sir Henry Wotton that ' Wot- 
ton vainly attempted to procure by means of bribery one rare manu- 
script for his patron Lord Zouche, the Steganographia of Trithemius, 
which was the earliest treatise on cipher writing, a dangerous book 
to possess, and therefore much prized.' Wotton was at this time 
travelling in the guise, and honestly so, of a well-born student not 
too well supplied with means. He seems to have studied hard, and, 
within the loose lines of what was then considered personal honour, 
he was using the hospitality accorded to men bearing good intro- 
ductions, as a means to obtain state secrets for the good of his own 
government. 

At this time, ' for yoiing Englishmen of birth the main object of 
travel was almost always political. By observing different forms 
of government, by penetrating into the secrets of foreign Courts, 
they both prepared themselves for the service of the State, and pro- 
cured information likely to be useful to the Government at home. 
They acted as informal s])ies on foreign princes, and on the English 
political exiles; and attempted to fathom the plots, and discover the 
warlike preparations, that were perpetually threatening England 
from abroad.' They travelled by licence, without which none could 
go abroad. ' They were restricted to certain countries, and to cer- 
tain periods of time. Their movements were more or less deter- 
mined by orders from home ; and it is plain from Wotton's letters 
that he was acting under instructions in his various journeys. Fran- 
cis and Anthony Bacon, Robert Cecil, Raleigh, Essex, and indeed 
almost all AVotton's contemporaries, eminent in politics, sj^ent some 
years on the Continent in their youth.' ' 

' Smith, Life and Letters of Sir Henry Wotton, vol. i, p. 9. 



8 SOME ACROSTIC SIGNATURES OP 

A few years later Wotton was taken into the service of Essex; at 
this time, however, he was corresponding with Lord Zonche. He 
was kilHng two birds with one stone in thus improving his mind by 
travel and study, while laying the foundation for the future political 
advancement Avhich came from useful service, as an intelligencer, 
to Essex's party. His letter to Zouche, which was in Pearsall Smith's 
mind when he wrote the paragraph just quoted, is dated at Vienna, 
January 15, 1591 (style of Rome). It I'uns, 'I have herein sent 
your Honour a supjjlication written by Johannes Sturmius, i;nder 
the name and in the cause of Gifanius, to Maximilian the Emperor, 
very worthy the sight in a dangerous matter, of high prejudice, 
which I have added on the back side. If I had writ it in Latin, my 
letter intercepted might bring me into the like peril. Your Honour 
likewise receives included Johannes Trithemius his preface to his 
book of Steganography, which I have caused to be written out of 
a book m his Majesty's library. I came a little too late, or had lighted 
on the work itself, which yet I despair not to help your Honour 
unto ; it is a notable piece of work for a statesman, but an instru- 
ment of great ill, if the hand be not good that holds it, as the author 
disputes in his preface; I promise nothing because your Honour 
shall, I hope, not find me false. If I chance to send it, you are wise 
(my Lord) to keep it secret: otherwise the bare having of the book is 
to call in our state many eyes about us to observe our actions, which 
is needless to tell you.' 

He found later that neither bribes nor persuasion served to debauch 
the custodians of the book, and he failed to obtain a manuscript copy 
of it. It must be remembered that in those days the word hook apjilied 
to manuscript as well as to printed works, and it is quite possible 
that the copy of Trithemius's work was itself in manuscript. Race- 
track gamblers still make ' books ' in manuscript. 

Mr. Pearsall Smith's brilliant work is an admirable example of 
literary biography. He does not stray from his documents to let 
his imagination play around inferences, often so speciously used 
as ' internal evidence ' by writers who cannot make available facts 
fit their theories. His work is at once both history and romance, and 
redeems from commonplace the trite saying that truth is stranger 
than fiction. His imagination leads his documents, but never 
outstrijjs them. 

Those were days when letters were carried by posts or couriers 



FRANCIS BACON 9 

over roads ill-protected, and often dangerous. Letters were also often 
carried and passed on from one merchant to another to their destination, 
much as they are to-day in the out-of-the-way parts of Mexico or 
Brazil. Despatches of an important political nature were, as now, 
generally in cipher, and were carried by special agents, or couriers. 
The times themselves were full of romance and uncertainty. As 
Pearsall Smith says, ' The definite and comparatively commonplace 
character of our news makes one of the most obvious differences 
between the life of modern days and that of former centuries. News 
has for us lost half the wonder and uncertainty it possessed for our 
ancestors, when echoes of great battles, and rumours of the deaths 
of Kings, travelled mysteriously over Europe; when travel-stained 
couriers galloped through the gates of old walled cities with, 
in the phrase repeated by Wotton, " lies in their mouths and truth 
in their packets"; and when to know the news of the world, to gain 
the confidence of the well-informed, to study the masked faces of 
statesmen, and to rob the posts, was a profession in itself.' 

Until recent commercial times, when the invention of the tele- 
graph has made it necessary to condense our message into a few 
words (a necessity not felt in the days of Elizabeth), few private 
persons were supposed to have need of secrecy or of a cipher in 
their daily life. We often use both to-day, though we are apt to 
forget it. 

From the days of the Phoenicians to the times of which I write the 
art or trick of sending messages by cipher was devoted to the use 
of princes or their servants. The so-called Morse Alphabet itself has 
come to us ahnost without change from the biliteral cipher system 
described by Joan Baptista Porta, and adapted to his own use by 
Francis Bacon.^ 

The ' wig- wag ' system used in armies is of extreme antiquity, 
became embodied in a cipher method, and is to be seen in Porta's De 
Furtivis Literarum Notis Vtdgo. De ZIferis. (Naples, 1563), p. 33. 
Our common telegraph code, in which one word is made to stand 
for another, or for whole sentences, is to be seen in its prototype in 
the same book, on pages 114 to 133. The principle of the Yale lock 
is very old, and was embodied in a cipher in former times. Indeed, a 
lock itself was made, and a good drawing of it may be seen on the 
last page of Selenus's Cryptomenytices (Luneburg, 1624). 

' Tractatus de Dignitate et Augmentis Scientiarum, 1638, p. 166. 



10 SOME ACEOSTIC SIGjSTATURES OF 

Secret commerce no longer disturbs a civilised government; but 
in those days it is easy to see how readily suspicion might fall on a 
plain citizen, who by the possession of cijiher codes might be taken 
for a spy in the pay of an enemy of his government. In the trial of 
Somerset it was regarded as an aggravation of his offence that he 
was possessed of a private code in which were the names of James I 
and his family. High as his position Avas as the King's favourite, he 
was still deemed by Sir Francis Bacon, the King's Attorney-General 
at the time, to have had no proper use for a cipher in his relations 
with the unfortunate Overbury. To quote Bacon's words in his 
charge, ' And like Princes' confederates they had their ciphers and 
jargons.' In the draft of the same charge previously submitted to the 
King for comment, Bacon had said, ' I mean to show likewise what 
jargons there were and cijihers between them, which are great 
badges of secrets of estate, and used either by princes and their min- 
isters of state, or by such as practise against princes.' 

This restriction of the common use of ciphers to public servants 
and their agents naturally had for its corollary the tacit prohibition 
of their use for purposes which were not in the interest of the Gov- 
ernment; and the man who so used them did so at his peril if found 
out. The feeling about them seems to have been much the same as 
it would be if a private in the ranks of the army were found in 
possession of a code during wartime. He would be haled before 
his superior officer and would be required to submit to a searching 
cross-examination. 

We use the very words 'cipher ' and 'decipher,' to-day, with little 
thought of their connexion with the cultivated officials and their 
scholarly servants and proteges who have given ns so large a part 
of the splendid literature of the period. Another familiar word is used 
in an interesting relation to this lost art — the word 'frame.' We 
frame a reply to a question. Francis Bacon uses this word in such a 
way that it betrays his intimacy with the official iise of ciphers. He 
is writing to his friend Tobie Matthew, who had been allowed to re- 
turn from his banishment, and Avas making himself useful at Court: 
' If upon your repair to the Court (whereof I am right glad) you have 
any speech of the Marquis of me, I pray place the alphabet (as you 
can do it right well) in a frame to express my love faithfull and 
ardent towards him.' This letter Avas dated March 27, 1621 (1622). 
(Spedding.) MatthcAV had been banished because of his relapse into 



fea:n^cis bacok ii 

Catholicism. Being the son of the Archbisliop of York, and having 
powerful friends, he received light pmiishment. The ' Marqnis ' was 
Buckingham. 

I shall have occasion to put the alphabet in a frame in my chapter 
on ' Method,' so the explanation may be deferred. It is, however, 
an interesting example of literary usage and exposes a knowledge 
of the art of ciphering both in Francis Bacon's and in Matthew's 
mind. Matthew must have been conversant with the art, for he 
spent many years of his life in dangerous correspondence with recus- 
ants at home and abroad. In this letter, the knowledge common to 
both of them permitted Bacon to use the phrase as a well-understood 
metaphor. 

This is a proper place to give Francis Bacon's own words on 
ciphers, as he deals with them in his Advancement of Learning 
(Spedding, vol. iii, p. 402) : ' For Ciphers, they are commonly in letters 
or alphabets, but may be in words. The kinds of Ciphers (besides 
the simple Ciphers with changes and intermixtures of nulls and non- 
significants) are many, according to the nature or rule of the infold- 
ing; Wheel-ciphers, Key-ciphers, Doubles, «fec. But the virtues of 
them, whereby they are to be preferred, are three : that they be not 
laborious to write and read; that they be impossible to decipher; and, 
in some cases, that they be without suspicion. The highest degree 
whereof is to write omnia j^'"'' omnia; which is undoubtedly possible, 
with a proportion qiiintuple at most of the writing infolding to the 
writing infolded, and no other restraint whatsoever. This art of 
Ciphering hath for relative an art of Deciphering; by supposition 
unprofitable ; but as things are, of great use. For suppose that Ciijhers 
were well managed, there be multitudes of them that exclude the 
decipherer. But in regard of the rawness and unskilfulness of the 
hands through which they pass, the greatest matters are many times 
carried in the weakest Ciphers. 

' In the enumeration of these private and retired arts, it may be 
thought I seek to make a great muster-roll of sciences; naming them 
for shew and ostentation, and to little other purpose. But let those 
which are skilfuU in them judge whether I bring them in only for 
appearance, or whether in that Avhich I speak of them (though in few 
marks) there be not some seed of proficience. And this must be 
remembered, that as there be many of great account in their coun- 
tries and provinces, which when they come up to the Seat of the 



12 SOME ACROSTIC SIGNATURES OF 

Estate are but of mean rank and scarcely regarded; so these arts 
being here placed with the principle and supreme sciences, seem 
petty things ; yet to such as have chosen them to spend their studies 
in them, they seem great matters.' 

It must not be forgotten that our use of cipher codes to-day aims 
fully as often to enable us to say much in few words as to ensure 
secrecy in the message. I do not know to Avhat extent merchants 
used ciphers in the sixteenth and seventeenth centuries. They could 
not often have had reason for expressing much in few words, but it 
is conceivable that they may have had need to express themselves 
secretly. As a class they were important agents of communication, 
as I have shown on another page. We know to-day that most 
tradesmen and merchants have an office-cipher with Avhich prices 
and terms are recorded upon some corner of the merchandise. These 
mercantile ciphers are usually simple transpositions of figures or let- 
ters, examples of which may be seen in any of the old cipher-books. 
We also know that some great merchants, the Fuggers for example, 
acted as government agents on occasion; and it is to be taken for 
granted that many men of power and influence used ciphers in their 
correspondence, and so used them without danger so long as the 
correspondence was in the interest of their government, or at any 
rate not ojjposed to the pai'ty in power. 

In Spedding's edition of the De Augmentis Scientiarum, page 447, 
translated into English, Bacon gives a full example of the cipher 
alluded to as 'omnia per omnia' in The Advancement of Learning, 
which I have just quoted. He also speaks of writing as it is ' per- 
formed either by the common alphabet (which is used by everybody) 
or by a secret and private one, agreed upon by particular persons; 
which they call ciphers.'' He then gives an account of ciphers very 
like that which he gives in The Advancement of Learning, adding 
a careful description of the ' omnia per omnia ' which he claims as 
his own invention. It may be said that his invention fails in two 
important qualities ; for though simple in method, it is both labori- 
ous to construct and even more laborious to decipher. Laborious, 
I say, but not difficult; as anj'^ one will find who cares to practise 
it. It is by the misuse of this particular cipher that some recent 
writers have brought upon this interesting enquiry the rather fright- 
ened ridicule of the academic world, and of the ill-informed who are 
often to be found in that company. 



FRAJ^CIS BACOK 13 

Bacon closes his remarks on ciphers in the De Augmentis with 
several sentences on the art of decijihering, one of which is of im- 
portance to us here. He says that deciphering is ' a thing requiring 
both labour and ingenuity, and dedicated, as the other [ciphering] 
likewise is, to the secrets of princes.' 



14 SOME ACROSTIC SIGNATURES OF 



CHAPTER III 

ANONYMITY AND PSEUDONYMITY 

The custom of unmistakably declaring one's self the author of literary 
works has become general only in very recent times. One might well 
say ' has become possible '; for before the invention of prmting it was 
impossible, by means of what we may properly designate as a non- 
structural signature, to identify one's self permanently as the author 
of a given Avork. When no structural signature ' was employed, 
nothing but strong internal evidence, such as we have, for instance, 
in the Vita JS^uova, or contemporary allusions, or other trustworthy 
external evidence, could establish beyond all reasonable doubt the 
authorship of a writing or of any analogous production. Thus an 
author who had not taken the pains to sign his works internally 

' Weit ofter sind die Hss. dagegen mit ahnlichen Zusatzen versehen, die uns ausdriicklich 
iiber die Entstehuiigszeit, iiber Namen, Stand und Herkunft des Textsohreibers und Auf- 
traggebers, iiber Benutzung gewisser Vorlagen, Ausfiihrung etwaiger Verbesserungen u. a. m. 
iinterrichten, nur ist es notwendig die Form und Fassung soldier Notizen peinlichst zu priifen, 
denn es ist mannigfach vorgekommen, dass meclianische Absohreiber auch derartige Angaben 
aus ihren Vorlagen ohne Weiteres heriibergenommeu haben. Haufig erfiihrt man aus den 
meistens mit ' Explicit liber ' anhebenden Schluss-Bemerkungen iiberhaupt erst den Namen 
des Werkes und seines Verfassers ; daneben fehlt es daselbst wieder an allerlei dem Charakter 
des Mittelalterseigenthiimlichen Kiinsteleien und Kunststuckchen nicht : da werden z. B. die 
Namen des Verfassers, oder des Schreibers, in einer Art Gelieinischrift gegeben, miissen diesel- 
ben vielleicht von riickwiiits gelesen werden oder die einzelnen dazu gehorigen Silben sind in 
eine Mehrzahl von Versen verstreut ; dazu treten dann weitere, nicht imnier vollendete poet- 
ische Ergiisse, Danksagungen fiir die Iliilfe iibernaturlicher, gottlicher Krafte bei der Schreib- 
arbeit, Fiirbitten fiir eigenes und fremdes Seelenheil, selbstbewusste Ausserungen iiber das 
Gelingen der gestellten Aufgabe oder demiitige Entschuldigungen wegen etwaigeu jSIisslin- 
gens derselben, sowie andere beilaufige Ausserungen, bald humoristiscb iibersprudelnden 
Inhalts, bald die Grenze der Decenz hart streifend oder iiberschreitend. Weniger sorgfiiltig 
sind hiergegen die Anfange der Werke und Hss. behandelt. Seit dem 13. Jahrhundert findet 
man zwar fast ausnahmlos am oberen Rande der 1. Seite die Worte: ' Adsit principio sancta 
Maria meo' oder eine ahnliche Anrufung, dagegen unterbleibt seit dem 11. Jahrhundert nur 
zu oft die mit ' Incipit liber ' einzuleitende Nennung des Titels, besondersgern aber liisst man 
den Namen des Verfassers ausser Acht und es gilt denselben anderweit, vielleicht aus dem 
Wortlaute des 1. Kapitels oder der Einleitung herauszukliigeln ; bei einzelnen Gedichten 
ist man so glucklich gewesen, den Namen des Werkes und des Verfassers aus den Anfangs- 
buchstaben der ersten Verse des Prologes oder des diesem erst folgenden Textes zuzammen- 
zustelli'ii. — Gustav Grober, Grundriss der Romanischen Philoloyie, vol. i, edition 1SS8, p. 193. 
Die schriftlichen Quellen, § 9. Anfangs- und Schlussbemerkungen, von AVilhelm Schum. 



FRANCIS BACON" 15 

(structurally), in such a way that his authorship could never be denied 
or forgotten, was in the power of his scribes, and often hecame 
anonymous despite himself; for even if a mere signature at the 
beginning or end of a manuscript could be regarded as a sure guar- 
antee of its authorship, no such non-structural or inorganic signature 
could be expected invariably to survive the carelessness of cojiyists, 
the indifference of readers, or other vicissitudes. It may be that 
acrostics and other such devices were employed at first chiefly in 
order to escape involuntary anonymity. By multiplying identical 
copies of a work, the printing-press immensely lessened the danger 
that the work should suffer this fate ; ' but by preserving a name on 
a title-page, or, in some rare instances, at the end of a book, the 
printing-press was not necessarily preserving the name by which 
the author was known in every-day life. 

But another kind of anonymity requires consideration. I mean that 
anonymity in which an author half-unconsciously acquiesces, or which 
is his destiny because he desires the praise or the pay that his con- 
temporaries, his hearers, may bestow upon him, and is indifferent 
both to lasting fame and to oblivion. Though this kind of anonymity 
is rare nowadays, it was not rare in the literature of the Middle Ages. 
A notable proportion of the most beautiful literary works of that 
period cannot even be ascribed: their authors were impersonal; we 
have no evidence that it even occurred to them to mark as their own 

1 In mediiBval MSS. the real or supposed name, or pseudonym, of the author commonly 
appears jilainly at the beginning of the MS., but is often written over each work contained in 
a codex. It may also follow the explicit, or be embedded in the body of the work : innumer- 
able examples might be cited. Printed books continued these various usages for awhile ; but 
gradually the title-page came to be the place for the insertion of non-structural authors' sig- 
natures. This last tradition had got a good start as early as 1500, roughly speaking, and by 
1550 was firmly established. This development accompanied the decline of the habit of 
jumbling together various works in one volume. In other words, the custom of putting an 
author's name on the title-page, and there only, was due, in part at least, to the growth of 
the habit of printing each work by itself (specialisation). 

As late as 1-598 we have an example of the habit, so deceptive to the unwary historian, of 
printing several anonymous books under separate title-pages and binding them in one volume. 
The example which I have in mind is that of Barnfield's poems, to which I have alluded in 
Part II. Here we have The Encomion of Lady Pecunia, with a title-page containing the name 
of Richard Barnlield, followed by three books, each of which has a separate but anonymous 
title-page. The printer has placed (naturally enough) in the front of the group that volume 
which contained an author's name on its title-page. He may have believed that all four 
books were written by the same author. The arrangement of the fourth book may not have 
been his, but that of some patron who had the book thus printed. Who knows? And who 
knows that some of the poems in the fourth book are not Barnfield's? 



16 SOME ACROSTIC SIGNATURES OF 

what their minds had created. In this regard they do not differ from 
the painters, the architects, and other artists of their time.* 

Anonymity is therefore either sought or not sought. With the cases 
in which it is not sought, in which it is often the natural result of an 
author's method, or of his indifference, we have dealt with extreme 
brevity ; for it is with the cases in which anonymity is sought ^ that 
we are primarily concerned. If an author seeks anonjnnity, he does 
so to conceal his identity. His reason for so doing may be perfectly 
simple, or he may be actuated by a variety of motives, which we may, 
or may not, be able to ascertain. The desire to maintain a prestige 
which some kinds of writing might imperil or destroy, fear of official 
or private vengeance, a willingness to rest content with the praise of 
a few, avei'sion to becoming a ' familiar figure,' in other words, a 
dread of publicity, or the wish to enjoy fame unmolested, or (and 
this is a wholly different motive) the ambition to achieve some end 
which the open avowal of one's authorship would thwart, or finally, 
sheer delight in mystifying the public, — these are some of the many 
motives which in all times, and in every European country where 
literatiu'e has thriven, have led men to avail themselves of anonymity, 
i. e. of the privileges which anonymity affords. From no earlier than 
1500 to no later than 1800 the number of anonymous writers is legion, 
and of these many could be shown to have employed deliberately 
the veil of anonymity.* 

"When the anonymous writer is bold enough to risk diseoverj'^, or 
wishes, on the contrary, to arouse no suspicion, or to send his pur- 
suers * off on a false scent, he will often use a pseudonym. A pseu- 
donym is merely a way of masking anonymity; it is anonymity in 

* Of this type of anonymous writers something will be said later. 

' All the important phases of anonymity are illustrated by innumerable examples in the 
special catalogues of anonymous works, such as the Dictionnaire des ouvrages ationymes, by 
Ant. Alex. Barbier, first published in 1825, and Halkett and Laing's Dictionary of the Anony- 
mous and Pseudonymous Literature of Great Britain ; it would be difficult to name any thor- 
oughly scientific treatise on anonymity. 

■ ' On ne pent nier que de bons rfcrivains n'aient d^daign^ de mettre leurs noms aux fruits 
de leurs veilles, et des savans distingu^s, que nous avons encore le bonheur de poss^der, ont 
fait paraitre presque tous leurs ouvrages sous le voile de I'anonyme ; aussi, il me serait facile 
de prouver que dans toute bibliotheque composee d'ouvrages utiles il en existe un tiers sans 
indications d'auteurs, traducteurs ou editeurs.' Barbier, in the ' Discours preliminaire ' of his 
Dictionnaire ; see the edition of 1882, vol. i, p. xxx. See also an excellent book The Secrets of 
Our National Literature, by W^illiam Prideaux Courtney. London, Constable & Co. Ltd., 1908. 

* Among whom will be some biographers, though the eluding of biographers is usually in- 
cidental, and not a part of the anonymous writer's plan. 



FRANCIS BACON^ 17 

disguise, a trap for unwary biographers. For the anonymous writer 
himself it is a means, not always successful, of laying perpetual claim 
to the aiithorshiji of a given work. If he wishes to make assurance 
doubly sure, he may use not only the pseudonym, which he ordin- 
arily causes to be put on the title-page, but he may contrive by the 
use of an acrostic, or some other device, to sign his work so securely 
that his signature can be removed or destroyed only by garbling 
his text. This may easily happen when new editions are jii'inted, 
jjarticularly when they are printed without the author's consent, or 
after his death. If, therefore, a scholar suspects any work to contain 
a hidden, i. e. a structural or organic signature, he should invariably 
search for it in the oldest editions; furthermore, he should try to as- 
certain Avhether it occurs in more than one edition ; any change of 
typography made without the author's consent woidd be likely to 
destroy it. If it is still there, even though a slight change in typo- 
graphy, in a new edition, would have destroyed it, we have in 
this very fact the most convincing evidence that the author, or some 
one acting under his instructions, or knowing his Avill, so re-arranged 
the typogi'aphy that the signature should remain undisturbed. If we 
discover a hidden signature, it behooves us to ascertain whether it 
occurs in all the editions printed before the death of the man whose 
name it may represent. A hidden signature is a structural signature ; 
the passage in which it occurs is not milike the corner-stone of a 
building, in which from time immemorial it has been customary for 
the architect to deposit his name, thus establishing for ever his claim 
to have been the man in whose brain the building was conceived. 
There is this essential difference, that the hidden signature of the 
author is an oi'ganic part of his work as he made it, whatever wrong 
may have been done him by scribes or printers, in new copies or in 
later editions. 

As has been said, we may find both a hidden signature and another 
signature (ordinarily on the title-page), in one and the same book. 
Of these the hidden signature may have been known only to the 
author, or, at most, to the few whom he saw fit to trust. It may be 
revealed only when the motive for concealing it no longer exists; or 
it may never be revealed by the one, or by the few, to whom it was 
originally known; in Avhich case only time and chance, or the pa- 
tience of some one who suspects its existence, can bring it to light. 
One could enumerate various other fortunes which a hidden signa- 



18 SOME ACROSTIC SIGNATURES OF 

ture might incur. I cite examples later on to illustrate such cases. 
If, now, a name upon a title-jiage has long been regarded as the 
genuine, legal name of an author, the discovery of the hidden yet 
unmistakable signature of a different name in the same work must 
arouse the gravest suspicions as to the name on the title-page, par- 
ticularly when nothing is positively known of any person for whom 
the name on the title-page might stand. If the two signatures are 
essentially different, of which would both the first impulse and mature 
reflexion cause us to say, ' Tins is a pseudonym, this\s the true name 
of the author ' '? If a faith that we have long shared with other men 
still bids us affirm that the name on the title-page was the name of 
the author, and of his father before him, how shall we account for 
that othername, which stares us in the face, which will remain there for 
ever, as its bearer or deviser meant that it should, requiring a rational 
exjilanation r* What motive shall we atti'ibiite to an author who in- 
serts, not in a manuscript, but in a printed book, the name of another 
man, still living, it may be, and perhaps powerful, when the act was 
done ? Did he do so, possibly, to pay a graceful tribute in return for 
some favour? Or may he have wished, perhaps, to commemorate a 
kindred spirit, a boon companion, a friend who had shared in his in- 
tellectual life '? Or may it be that the two were really one ? Or can we 
suppose that the hidden signature, involving a change of typography 
and of text, was inserted without his leave V However we Avould an- 
swer these questions, no upright man of good intelligence would 
identify what he could possibly suspect of being a pseudonym with 
the undeniable name of a known or real person, either in serious 
speech, or in a Life; and if a biogra])her persisted in identifying a 
possible pseudonym with the name of some person whom no trust- 
worthy document unmistakably records as an author, his capacity as 
a historian might eventually be doubted and his authority as a writer 
of lives might be discredited. ^ No scientific mind will assume a sus- 

* ' The Character of a believing Christian in paradoxes and seeming contradictions ' was 
inserted in 1648 in Bacon's Remains. Spedding doubted its origin, for various reasons, and 
assumed that it had been included in the Remains because (as he mistakenly assumed) it had 
appeared as a pamphlet in 1643 with Bacon's name on the title-page. I am interested in 
calling the reader's attention to Spedding's attitude towards a title-page in its aspect as evi- 
dence. He says, ' So far as I know, if the publisher of the edition of 1643 had not put Bacon's 
name upon the title-page, there would have been no reason at all for thinking that he had 
anything to do with it ; and as it is, the reason is so slight, that if the probabilities were 
otherwise balanced, it would hardly turn the scale. The name on the title-page of such a pub- 
lication is enough to suggest and justify the enquiry whether there be any evidence, internal or 



FEANCIS BACON^ 19 

peetecl signature to be genuine, and not a f)seudonym, i;ntil all the 
known evidences have been scrupulously examined and found to 
support such a contention beyond all reasonable doubt. 

The slight evidential value accorded to title-pages by Spedding 
under some conditions has a warrant from Bacon's own words in his 
treatise Of the Advancement of Learning (Si^edding, vol. iii, p. 281), 
where he says : ' Neither is the moral [customary] dedication of 
books and writings, as to jjatrons, to be commended : for that books 
(such as are worthy the name of books) ought to have no patrons 
but truth and reason ; and the ancient custom was to dedicate them 
only to private and equal friends, or to entitle the books with their 
names; or if to kings and great persons, it was to some such as the 
argument of the book was fit and proper for. But these and the like 
courses may deserve rather reprehension than defence.' Bacon never- 
theless dedicated his acknowledged works to King, patron, or friend; 
and the reader may be left to determine whether he entitled some 
of his books with other men's names. 

I am in doubt as to the meaning to be given to Bacon's words, 
' the ancient custom.' It is possible that he used it in the same 
sense as he used the phrase ' mine ancient friend.' He may refer 
to the ages which preceded his own by a few centuries, or again he 
may refer to the habits of Greek and Roman writers. I can cite no 
instance of such practice in the literature of the Greeks or the Ro- 
mans ; though Terence had to answer charges that he had taken a 
whole passage from Plautiis's Gommorientes, hashed up Greek plays 
in order to write his own, and, what concerns us here, that he had 
received assistance from great men who were constantly writing 
with him, and that he relied for success, not upon his own parts, but 
on the genius of his friends. (See The Comedies of Publius Teren- 
tiiis Afer, Latin and English, translated and privately printed for 
The Roman Society, 1900; 2 vols. 'The Adelphi,' Prologus, vv. 
6-21 ; and ' Heauton Timoroumenos,' Prologus, vv. 14-26.) 

It is also possible that ' our English Terence ' was subjected to 
similar charges, though it is not certain that he was. 

I have alluded to acrostics which are known, and which can be 
seen in many books of Shakespeare's day, and I hope that this book 

external, to conflrin the atatement; but can scarcely be taken for evidence in itself, even in 
the absence of evidence the other way.' Lord Bacon's Works, vol. xiv, p. 289. 



20 SOME ACROSTIC SIGNATURES OF 

will be a spur to some patient scholar to reveal to us some acrostics 
which may now lie hidden in a simple transliteration. Tables for 
his guidance can be seen in the works of Trithemius, Delia Porta, 
Selenus, Vigenere, and later writers. 

Acrostics which are as yet unknown, because unseen, may contain 
information valuable alike to the student of literature and to the 
student of history. I infer that a man would be likely to hide (or 
to transliterate) matter which he wished to use merely as a mark of 
identification, or for the information of a few friends. Such matter is 
not necessarily to be found in verse alone. It is as easy to insert an 
acrostic or a structural signature in prose as in verse. I shall 
show several methods which were in use, both in verse and in 
prose. 

It is a common and erroneous impression that an acrostic must of 
necessity interfere with the flow of composition. I shall show speci- 
mens which do interfere, and some which do not. The latter are the 
easiest of all kinds to make, and the most difficult to discover by one 
who has had no hint of their existence. 

It must not be forgotten that, although acrostics can be produced 
by intention, and by exact methods which I shall exhibit, the same 
acrostics may be the result of chance. It will remain for the reader 
to determine how often the same rare accidents may be expected to 
recur with a remarkably definite frequency in the same book, and in 
corresponding places in that book. It is as if a log of wood were 
found in the way of an express train two miles out of Boston. This 
might be regarded as an accident. But a similar log found in a 
corresponding place two miles out of every important station between 
Boston and New York would, by many observers, be regarded as 
evidence of intention. 

It is not likely that acrostics of the kind to which we shall ulti- 
mately confine our attention were made for any other purpose than 
that of identification, for in their essence such acrostics are private 
marks, of no significance to anybody whose notice they escape. 
They convey, and apparently are intended to convey, no message, 
unless the maker imparted a knowledge of his method to a few per- 
sons. It is possible that Bacon had taken John Davies of Hereford, 
for instance, into his confidence. Davies was the man to whom 
Bacon wrote in 1603, alluding to himself as a concealed poet. (Sped- 
ding, vol. iv, p. 65.) It is also possible that Thomas Freeman was 



FRANCIS BACON 21 

in the secret when, in 1614, he printed an enigmatical sonnet to 
Shakespeare, beginning with these Hnes : — 

' Shakes^Deare, that nimble Mercury thy brain 
Lulls many hundred Argus-eyes asleep.' 

We have not hitherto regarded the actor or the playwright as a man 
who had anything to hide from the Argus-eyes of his contempo- 
raries. Neither have his plays, nor his poems, lulled our Argus- 
eyes asleep. (I have slept at a pei'formance of one of his plays, but 
the play was not the cause.) If Bacon, writing under the pseudo- 
nym Shakespeare or Shake-speare, with or without the consent, 
or to or not to the profit of the actor or some other WiUiam Shake- 
speare, purposely allowed the public to be confused thereby, then 
both these quotations become illuminating. But we have no direct 
evidence that he did so. 

After a careful examination of the several attempts to saddle the 
plays of Shakespeare with infolded writings by means of Bacon's 
biliteral cipher and by word-ciphers, I found, as Mr. W. W. Greg 
fomid, that they will not stand a test of the simple method by the 
use of which they are said to be decipherable. I realised also that, 
if the author of the plays had desired anonymity, he would not have 
used methods which would have been as plain as daylight to many 
of his contemporaries familiar with the arts of the cipherer and the 
decipherer. Had he wished to put his name to his work so that it 
should escape detection, the only way to do so was by using a method 
which could be disclosed only by a guess, and which the author could 
say truthfully might be the result of chance. Such a method is that 
of writing a hidden acrostic in a series of corresponding places, like 
the beginning and ending of a play, poem, or block of prose. Such 
a method would be a plain variant of the simple acrostic which can 
be seen on page 55, and is an equally plain variant of the w^ell-known 
cipher method to be seen on page 63. I have tested the truth of my 
supposition, with the results given in this book. 

Let me illustrate what I mean by a hidden acrostic. Instead of 
making your acrostic so that it can be read down the initials of the 
first words of all the lines of a verse, as on page 55, let it be made 
so that the end letters only are visible, and let the interior letters of 
the acrostic run as they will through the verse. For instance, if you 
wish to write ' Fraimcis Bacon ' into a piece of prose or verse, you see 



22 SOME ACEOSTIC SIG:N^ATUEES OF 

to it that the initial letter of the first word of the first line is an F, 
and that the corresponding letter at the bottom of the page is an N. 
Then look over your composition and make sure that if after F you 
take the next initial R, and if after R you take the next initial A, 
and so on, reading the first line to the one hand and the next line to 
the other (in the manner of the primitive Greeks), the last letter of 
the name will fall on the N which you have placed at the end of your 
acrostic. (See examples on pp. 59 and 65.) Thus you will have 
allowed your name to wander where it will through the composition, 
as it were on a string, continuously, beginning and ending only in 
definite sjiots. This method is described in detail in my chapter on 
method; and it might account for another line in the sonnet by Free- 
man, quoted above : — 

' Besides in plays thy wit winds like Meander.' 

We have in these days so high a regard for the art of expression 
in writing, that the man who pursues it as a means of earning his 
living is honoured by his fellows, strangely enough, as a person of 
unusual intelligence. In antithesis, the Philosopher and the Poet, 
whose perfect work demands the highest intelligence, have been for 
centuries and are still deemed unhkely to be good judges of a simple 
business transaction. Many exceptions to this statement will spring 
to the mind of the reader, but in the main it will stand the test of 
reflexion. 

In the days of Shakespeare, the scholar and the student were hon- 
oured in much the same way, but they made little money by the sale 
of their work because the trade of publishing was in its infancy. 
Poor students and scholars looked for a maintenance in the protec- 
tion and rewards to be obtained from nobles and public men who 
were scholars themselves, or who liked to play the patron to merit 
in the arts and sciences. 

A poet stood on another footing. If he chose to seek all men's 
suffrage, he had to face the fact that the great mass of printed verse, 
and indeed most verse that the philistine public knew anything about, 
was in the form of the popular song, or the ballad, often ribald, gen- 
erally doggerel, and associated in the popular mind with the streets 
and alehouses. Poetry itself was regarded as a toy or amusement, a 
pastime for idle hours. It is easy to imagine the reason for this when 
we remember that skill in ditty-making, rhyming, and playing on 



fra:n^cis bacon 23 

stringed instruments, has been so common tliat at one time it was the 
practice for some barbers to keep musical instruments hanging in 
their shops, that their customers might amuse themselves while wait- 
ing their turn. 

Those were days when most serious men gave much thought to 
religion and the problems which were forced upon them by the active 
political and religious intrigues of the Catholic and other sects. Life 
was almost hopelessly complicated by warring dogmas among the 
Protestants. Civil and religious government were so closely held in 
the same hands that religious opinion hostile to dogmas held by the 
Government was accounted treasonable. It is not difficult to imagine 
that, in such an atmosphere, the unimaginative and the godly Philis- 
tine in high office united in i-egarding poetiy as the same class of 
people to-day regard a game of cards, or a visit to the theatre. Indeed, 
the suspicion that the theatre and cards are tools of the Devil is our 
direct inheritance from the active, self-searching, and litigious relig- 
ious spirit of those days. It is still latent in the minds of many people 
who have not enjoyed a liberal education. The Philistine still holds 
in slight esteem all accomplishments whose bearing on our daily bread 
seems remote. 

Among gentlemen in those days the flavour of the manuscrii^t was 
not hurriedly exchanged for the smell of printer's ink. With many 
it argued a lack of dignity to huri-y into print.^ Any student can 
recall a score of instances where a writer allowed his work to remain 
in manuscript until after his death. Bacon voiced the feeling " when 

^ ' 'Tis ridiculous for a Lord to Print Verses, 'tis well enough to make them to please him- 
self, but to make them publick, is foolish. If a man in his private Chamber twirls his Band- 
strings, or plays with a Rush to please himself, 't is well enough, but if he should go into Fleet- 
street, and sit upon a Stall, and twirl a Bandstring, or play with a Rush, then all the Boys in 
the Street would laugh at him.' (John Selden, Table Talk, reported by R. JMilward. Arber's 
edition.) Selden was Bacon's junior by twenty-four years, but in what Tenison calls ' a tran- 
script out of the Lord Bacon's last will, relating especially to his writings,' he [Tenison] gives 
the following passage : ' But towards that durable part of memory which consisteth in my 
writings, I require my servant, Henry Percy, to deliver to my brother Constable all my manu- 
script-compositions, and the fragments also of such as are not finished ; to the end that, if any 
of them be fit to be published, he may accordingly dispose of them. And herein I desire him to 
take the advice of Mr. Selden, and Mr. Herbert, of the Inner Temple, and to publish or sup- 
press what shall be thought fit.' (Baconiana, p. 203. See Spedding, vol. xiv, p. 540.) Here we 
may see the type of man whose judgement of the world was respected by Bacon towards the 
close of his life. The passage is, however, not found in Bacon's will as it was published in 
Blackbourne's edition of Bacon's Worlcs, vol. ii, p, 559 (Spedding). 

^ Letter to Lancelot Andrewes, Lord Bishop of Winchester, written in the summer of 1622. 
(Spedding, voL xiv, pp. 370-71.) 



24 SOME ACROSTIC SIGNATURES OF 

he said that ijublieation of a man's writings should take place after 
death, so that the immortal part of him should not make an untimely 
appearance. He published only three works over his name before 
his sixtieth year; ^ after that time he hurried forward the preparation 
of others. Even then years passed over his grave before some of his 
works were printed. A noble like Sir Philip Sidney might prefer to 
allow his work to pass around among his friends in manuscript, and 
to i-emain unprinted until years after his death. Fulke Greville's Life 
of Sir Philip was not printed until twenty-four years after its author's 
death. These are instances merely. The cultivated world Avas small 
then, and a work was often deemed to have fulfilled its author's 
purjjose if his friends saw it only in manuscript. It was no uncom- 
mon thing for a man of means or position to keep scholarly servants 
emi:)loyed in copying interesting manuscrijDts which passed through 
his hands in this way. Francis Bacon kept such men," as is shown 
by his letters to his brother. 

To men like Sidney or Bacon the opinion of the world was the 
opinion of the learned and of the ivii^. Their livelihood was assured 
in other ways, and they did not, so far as I know, try to make money 
by huckstering their scholarship or art directly over the counter as 
we do. I suspect that at that time scorn would have been a light 
word to express their feelings for such a method of money-making. 
Hedge-poets, and scribblers for the theatres, hired pamphleteers, the 
riff-raff of the pen and ink-pot, might write for a pittance, but they 
were another class. 

In matters of wit or scholarship men in high place cared little for 
the opinion of the plain people. AVhat they cared for was the opinion 
of the small group of their cultivated fellows and of the literati who 
came up through the universities of Oxford and Cambi-idge, and the 
Inns of Court. Among themselves they were careful of the reputa- 
tion for authorship, as the habit of anonymity, and of writing under 
a mask, testifies. The writings of highly-placed men or men whose 

1 A noteworthy fact in view of the statement made by James Duport, of Trinity College, 
that Bacon ' showered the age with frequent volumes ' ; ' Imbuit et crebris saecla voluminibus.' 
(Manes Verulamiani : published by AVm. Rawley in 1626. Translated by E. K. Rand, and 
privately printed in 1903.) It is also worth remembering that Sir Frauncis Bacon, Knight, is 
included by Stows and Howes (Edition 1614-15, p. 811) among 'Our moderne, and pre.sent 
excellent Poets which worthely florish in their owne workes, and all of them in my owne 
knowledge lined togeather in this Queenes raigne ' [Elizabeth's]. 

^ As one instance in proof, read Francis Bacon's letter to Anthony Bacon. (Spedding, 
vol. viii, p. 347.) 



FEANCIS BACON 25 



• 

^urmoDcrne^anD pjefcnt epceU^it|?oefs 

iotuI)tcl}Vuo?t^eljjflo;ifi) in tljcirotone tuozfees, 
anoallof tljDmmmp crtonc fenoiulcage liued 
togcatfjcr inttjigilDueenes raigne, atcojDmgf 
to tl;eir pjtojittesaijnarca^jcoulo,^ tjaiie 
czuerlp fct Ootone ( tiij ) George Gafcoigne 
C'fquire, Thomas Cluirch-yard Cftiuiie, fit 
Edward Dyer iinigljt, Edmond Spencer Ctf* 
quire, fir Philip Sidney Ifiniafjt, fetr lohn 
Harnngton f nigljt, fe)ir Thomas Challonet 
ftnt[jl)t,&ir Frauncis Bacon iftmg1)t , 5 &ttf 

»oiohii Dauiefet^tJJ!)t,S^afterIohn Lilliegcn* 
tleman,9^aiffet George Chapmart gentleman 
£19.VV. Warner gentleman, ^. Willi. Shake- 
fpearcgcntleman. Samuell Daniell (Eifquire, 
Alichaell DraitonCEfquire, of tlje batlj, 21?. 
Chriftopher Mario pcn.a^-BeniaTTiine lohnfe 
geleman,Iohn Marfton (lEfqqier,S§i). Abraham 
Frauncis gciT. tiiafter Frauncis Meersgcntl?. 
roafler lofua Siluelicr jjentlc mafter Thomas 
Deckers gentleman, ip. lohnFIcchcrgcmlc. 

3°^. Ichn Wcbfter gentleman, ^, Thomas 
He/wood gentlemen.i^. Thomas Middelton 
gentleman,^. George Withers. 

Thefe following wercLatine Poets. 
flpafter GualterHadonjjentigman,^attcr 
Nicholas Can gc»ltlcman,Sp. Chrilbpher Ore 
land gentle.Mathew Gwynn Dortojof ^I)ificbe 
Thomas Lodge Oflctoj ofpljiOfee, ^. The. 
Watfon gentle, Thomas Campion Doctoj of 
P!)i(iche. Rfchard Latewarc Boctoa of tn'utnitie 

40 S^.Brunfwerdgcntlemanj fatter DortojHar- 
uie.ano matter Willcy gentleman. 

Facsimile of part of page 811 in "77ie Annales, or General Chronick of England, 
begun first by maister John Stoio, and after him continued and augmented with mat- 
ters forreyne, and domestique, auncient and moderne, imto the ende of this present yeere 
I6I4 by Edmond Howes; genthmanP London. 1615. 



26 SOME ACROSTIC SIGNATURES OF 

birth Avarranted an asi^iration to high jjlace were so many hostages 
to fortune when printed, but were protected by courtesy while in 
manuscript, and i^assing among friends or acquaintance. 

Even a man reputed to have been so humble in origin as Edmund 
Spenser is supposed to have written under a mask. Instance The 
8hej)herd''s Calendar, among the compositions of his first period, 
which was published anonymously, 1579-1580. Ostensibly it was not 
published by Spenser himself, though it was inscribed to Philip Sid- 
ney in a copy of verses signed with the masking name ' Immerito,' 
by most scholars suj^posed to be Spenser's, because the poem to 
whicli it was affixed ultimately appeared in a volume printed over 
Spenser's name. The reason for this anonymity (so R. W. Church 
surmises) was that the avowed responsibility for the poem might 
have been inconvenient for a young man pushing his fortune among 
the cross-currents of Elizabeth's Court. Mr. Church also says (' Spen- 
ser,' E.M.L. Series, p. 86) : ' A poet at this time still had to justify 
his employment by presenting himself in the character of a professed 
teacher of morality, with a purpose as definite and formal, though 
with a different method, as the preacher in the pulpit. Even with 
this profession he had to encounter many prejudices, and men of 
gravity and wisdom shook their heads at what they thought his idle 
trifling. But if he wished to be counted respectable and to separate 
himself from the crowd of foofish or licentious rhymers, he must 
intend distinctly, not merely to interest, but to instruct, by his new 
and deep conceits.' 

Edmund Spenser and a man like Sidney were, however, at a great 
social distance from each other, and though Spenser might, perhaps, 
write anonymously to avoid shaking the confidence of those in au- 
thority, to whom he looked for advancement, Sidney would be as 
likely to pass his writings around among his friends without his name 
to them, from a feeling that among his social equals there was a lack 
of dignity in appearing concerned over authorship. Spenser might 
have been governed by both reasons. He is supposed to have been 
the son of a free journeyman cloth-worker of London.' Some have 
tried to fit him with a pedigree, but it hangs loosely fi'om his shoul- 
ders. He had been a 'poor-scholar' both at school and at the Uni- 
versity. In one important respect his case Avas like that of Francis 
Bacon: he was dependent on the favour of men in high place for a 

* Dictionary of National Biography. 



FRANCIS BACON" 27 

lucrative appointment, and such a man would then, as now, be likely 
to trim his sails to the prevailing wind, which at that time blew, from 
some quarters, a scorching blast on ' idle toys.' He would be likely 
to avoid, or hide,' any action that would be subject to ' interpreta- 
tion ' by those on whom he depended — to use a phrase of Francis 
Bacon's when dealing with his own view of the pi'oblem in the 
dedication of the first edition of his J^ssays to his brother Anthony. 

These Essays are a case in point. Their author found that a manu- 
script cojiy of them (so he leads us to infer) had fallen into the hands 
of a printer or bookseller, and that they were about to be published 
to the world at large without his permission. I reproduce this dedi- 
cation in facsimile because it will be of interest later. 

The manifest inference to be drawn from this dedication is that 
these three little books (bound in one volume) had been circulating 
anonymously in copies, or in the original, among friends or acquaint- 
ances, in manuscript, as they had passed long ago from his pen, 
and had at last by some accident or breach of confidence come to 
the hands of the tradesman. We also have here the statement that 
Francis Bacon approved of anonymity in works ' of some nature,' 
and that he had reluctantly put his name to these. 

Astonishment is often expressed that men of those days should 
wish their work to circulate anonymously. I have given some 
reasons for it, and I shall present others later. It is not difficult to 
imagine one good reason, when the writer of ' idle toys ' happened 
to be a man of high birth, jjoor for his station, with great jihilan- 
thropic aims, and with his way to make in the world of statecraft, 
the law, or arms, — almost the only lucrative professions which a 

' My own experience affords an apt illustration here. It has its amusing as well as its 
serious aspect. My examination of the documents on which the biographies of Shakespeare 
are founded led me to follow the example of Mr. W. W. Greg, by making a careful scrutiny 
of the work of certain ingenious writers who have claimed to discover many curious cipher- 
writings by Bacon. The result of my scrutiny showed me that Mr. Greg's judgement was 
well founded. I was not satisfied, however, that I had exhausted the possible uses to which 
ciphers might have been put by a writer of Elizabethan times. My curiosity grew apace 
when my enquiries among professional literary friends drew from one of them the serious 
threat that my acquaintance would be dropped if I investigated the subject further ; and from 
another the well-meant advice that if I would consult my best interests I should avoid a sub- 
ject connected in the professional mind with the work of charlatans ; and from still another, 
that 'that is a matter on which the scholarly world has made up its mind.' My first question 
had been answered by my academic friends — as to Bacon's possible reason for anonymity. 
At the outset I had found that if I pursued a despised study my professional career might be 
endangered. 



28 



SOME ACROSTIC SIGNATURES OF 




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30 SO^IE ACEOSTIC SIGNATURES OF 

3'onng aristocrat could enter without loss of caste. I shall fortify 
my own imagination on this point with the good reasons given by 
a contemporary of Shakespeare, the author of The Arte of English 
Poesie. 

This author was a courtier, on easy terms of speech with Eliza- 
beth, as is shown by several sly remarks in his book, Avhich are 
often addressed to her personally. As the writer of the dedication 
states, it seems ' by many express passages in the same at large, 
that it was by the Author intended to our Sovereign Lady the 
Queen, and for her recreation and service chiefly devised.' The 
writer of this dedication, by the Avay, bears the same initials as 
Richard Field, the printer of the book. We are led to suppose that 
it was this printer who wrote the dedication. In it he speaks of the 
manuscript as ' coming to my hands, with his bare title without any 
author's name or any other ordinary address,' — that is to say, 
anonymously. On reading this preface, which is given in facsimile 
on page 99, I at once suspected its authorship, for no printer in that 
day would have dared to print a manuscript which had, on its face, 
the evidence of having come from the privacy of Queen Elizabeth 
herself. Of this, later. At present, let us retui-n to the subject of 
anonymity. 

The supposedly unknown author of this book raises the Poet 
above all other artificers, scientific or mechanical, and indeed places 
his creations of the mind next in honour after those of God's divine 
imagination. He recites in a few pithy chapters how poets were 
the first priests, the first prophets, the first legislators and politicians 
in the world; how they were the first philosophers, astronomers, 
historiographers, orators, and musicians. He asks, ' If the art of 
poesie be but a skill appertaining to utterance, why may not the 
same be with us as with them [the Greeks and Latins], our lan- 
guage being no less copious, pithie, and significative than theirs, 
our conceipts the same, and owy wits no less apt to devise and 
imitate than theirs Avere?' No writer before or since has placed the 
art of the poet on a higher plane. A man must be a poet to reveal 
the mysteries of God. 

So much for the glory of the art. We will noAv hear him tell us 
how poets had become contemptible in the time of Elizabeth, and for 
what causes ; and why many noblemen about the Court sought 
anonymity rather than fame. ' For the respects aforesaid in all former 



FRANCIS BACON 31 

ages and in the most civil countries and common wealths, good 
Poets and Poesie wei'e highly esteemed and much favoured of the 
greatest Princes.' Here he enumerates many notable instances and 
the rewards and dignities which the princes gave. ' Nor this reputa- 
tion was given them in ancient times altogether in respect that 
Poesie was a delicate art, and the poets themselves cunning Prince 
pleasers, but for that also they were thought for their universal 
knowledge to be very sufficient men for the greatest charges in their 
common wealths, were it for counsel or for conduct, whereby no 
man need to doubt but that both skills may very well concur and be 
most excellent in one person.' Here again he gives several instances 
of poets who were at the same time great administrators, soldiers, 
and lawgivers. ' So as the Poets seemed to have skill not only in the 
subtleties of their art, but also to be meet for all manner of func- 
tions civil and martial, even as they found favour of the times they 
lived in, insomuch as their credit and estimation generally was not 
small. But in these days (although some learned princes may take 
delight in them) yet universally it is not so. For as well Poets as 
Poesie are despised, and the name become, of honourable infamous, 
subject to scorn and derision, and rather a reproach than a praise to 
any that useth it: for commonly whoso is studious in the Art or 
shows himself excellent in it, they call him in disdain a Phantas- 
tical: and a lightheaded or phantastical man (by conversion) they 
call a Poet. And this proceeds through the barbarous ignorance of 
the time, and pride of many Gentlemen, and others, whose gross 
heads not being brought up or acquainted with any excellent Art, 
nor able to contrive, or in any manner conceive any matter of 
subtlety in any business or science, they do deride and scorn it in all 
others as superfluous knowledges and vain sciences, and whatsoever 
device be of rare invention they term it plianiastical, construing it 
to the worst side : and among men such as be modest and grave, and of 
little conversation, nor delighted in the busy life and vain ridiculous 
actions of the popular, they call him in scorn a PMlosojilier or Poet, 
as much to say as a phantastical man, very injuriously (God wot) and 
to the manifestation of their own ignorance, not making difference 
betwixt terms. For as the evil and vicious disposition of the brain 
hinders the sound judgement and discourse of man with busy and 
disordered phantasies, for which cause the Greeks call him <^av- 
TttcriKos, so is that part being well affected, not only nothing dis- 



32 SOME ACROSTIC SIG:N'ATURES OF 

orderly or confused with any monstrous imaginations oi* conceits, but 
very formal, and in his much multiformity imiform, that is well pro- 
portioned, and so passing clear, that by it as by a glass or miiTor, 
are represented imto the soul all manner of beautiful visions, whereby 
the inventive part of the mind is so much holpen, as without it no 
man could devise any new or rare thing; and where it is not excel- 
lent in his kind, there could be no politic Captain nor any witty enginer 
or cunning artificer, nor yet any law maker or counsellor of deep 
discourse. . . . 

' And this phantasy may be resembled to a glass as hath been said, 
whereof there be many tempers and manner of makings, as the per- 
spectives do acknowledge, for some be false glasses and show things 
otherwise than they be in deed, and others right as they be in deed, 
neither fairer nor fouler, nor greater nor smaller. There be again of 
these glasses that show things exceeding fair and comely, others 
that show figures very monstrous and illfavoured. Even so is the 
phantastical part of man (if it be not disordered) a representer of the 
best, most comely and beautiful images or appearances of things to 
the sold and according to their very truth. If otherwise, then doth it 
breed Chimneras and monsters in man's imaginations, and not only in 
his imaginations, but also in all his ordinary actions and life Avhich 
ensues. Wherefore such persons as be illuminated with the brightest 
irradiations of knowledge and of the verity and due proportion of 
things, they are called by the learned men not phantastlci but eu- 
phantasiote, and of this sort of phantasy are all good Poets, notable 
Captains stratagematique, all cunning artificers and enginers, all 
Legislators, Politicians and Counsellors of estate, in whose exercises 
the inventive part is most employed and is to the sound and true 
judgement of man most needful. This diversity in the terms perchance 
every man hath not noted, and thus much be said in the Poet's 
honour, to the end no noble and generous mind be discomforted in 
the study thereof, the rather for that worthy and honourable memo- 
rial of that noble woman twice French Queen, Lady Anne of Britaine, 
wife first to King Charles the VIII, and after to Lewis the XII, who 
passing one day from her lodging towards the king's side, saw in a 
gallery Master Allaine Chartier the king's Secretary, an excellent 
maker or Poet leaning on a table's end asleep, and stooped down to 
kiss him, saying thus in all their hearings, "we may not of Princely 
courtesy pass by and not honour with our kiss the mouth from 



FEANCIS BACON 33 

whence so many sweet ditties and golden poems have issued." But 
methinks at these words I hear some smihngly say, " I would be loath 
to lack living of my own till the Prince gave me a manor of new elm 
for my rhyming." * And another to say, " I have read that the Lady 
CyntMa came once down out of her sky to kiss the fair young lad 
Endymion as he lay asleep: and many noble Queens that have be- 
stowed kisses upon their Princes paramours, but never upon any 
Poets." The third methinks shruggingly saith, " I kejjt not to sit sleep- 
ing with my Poesy till a Queen came and kissed me." But what of 
all this ? Princes may give a good Poet such convenient countenance 
and also benefit as are due to an excellent artificer, though they 
neither kiss nor coax them, and the discreet Poet looks for no such 
extraordinary favours, and as well doth he honour by his pen the 
just, liberal, or magnanimous Prince, as the valiant, amialjle or beau- 
tiful, though they be every one of them the good gifts of God. 

' So it seems not altogether the scorn and ordinary disgrace offered 
unto Poets at these days is cause why very few Gentlemen do delight 
in the Art, but for that liberality is come to fail in Princes, who for 
their largesse were wont to be accounted the onl}^ patrons of learn- 
ing, and first foundei-s of all excellent artificers. Besides it is not 
perceived that Princes themselves do take any pleasure in this 
science, by whose example the subject is commonly led, and allured to 
all delights and exercises be they good or bad, according to the grave 
saying of the historian, '■'■Rex multitud'mem religione implevii, quae 
semper regent i similis est"; And peradventure in this iron and mal- 
icious age of ours. Princes are less delighted in it, being over earnestly 
bent and affected to the affairs of Empire and ambition, whereby 
they are, as it were, enforced to endeavour themselves to arms and 
practices of hostility, or to entend to the right jjollicing of their 
states, and have not one hour to bestow upon any other civil or de- 
lectable A.rt of natural or moral doctrine : nor scarce any leisure to 
think one good thought in perfect and godly contemplation, whereby 
their troubled minds might be moderated and brought into tranquil- 
lity. So as, it is hard to find in these days of noblemen or gentlemen 
any good Mathematician, or excellent Musician, or notable Philo- 
sopher, or else a cunning Poet : because we find few great Princes 

1 The author, on a preceding page, had alluded to the gift to Chaucer, by Richard II, of 
the manor of New Holme in Oxfordshire. These sarcasms on Elizabeth's parsimony are 
rather cheeky in print, but would have passed well enough if they were read to her with the 
right kind of a smile. My quotations are chiefly from chapter viii, Arber. 



34 SOME ACEOSTIC SIGNATURES OF 

much delighted in the same studies. Now also of such among the 
Nobility or gentry as be very well seen in any laudable sciences, and 
especially in making or Poesie, it is so come to pass that they have 
no courage to write, and if they have, yet are they loath to be knowen 
of their skill. So as I know very many notable Gentlemen in the 
Court that have written commendably and suppressed it again, or 
else suffered it to be published without their own names to it: as 
if it were a discredit for a gentleman to seem learned, and to show 
himself amorous of any good Art.' 

He ends this chapter with an exhortation : ' Since therefore so 
many noble Emperors, Kings and Princes have been studious of 
Poesie and other civil arts, and not ashamed to bewray their skills 
in the same, let none other meaner person despise learning, nor 
(whether it be in prose or in Poesie, if they themselves be able to write, 
or have written anything well or of rare invention) be any whit 
squeamish to let it be published under their names, for reason serves 
it, and modesty doth not repugn.' 

Brave advice ! And there must have been some very powerful 
reason to prevent him from putting his own name publicly to so 
brilliant a book ! 

There are ways, however, of putting one's name to a manuscript 
privately, for identification by one's self and possibly by a few close 
friends: methods some of which were open to men Avho were accus- 
tomed to the use of ciphers, and cipherers' tricks. I shall show how 
this was done in the books ( The Arte of Encjlish, Poesie among them) 
to which I directed attention on the first page. 

The most careless reader knows that pen-names and pseudonyms 
have been used by writers in this and previous centuries. The habit 
may be the outcome of prudence, self-interest, modesty, fright, or 
intellectual or social pride. It depends on the piu-pose of the 
book, in conjunction with the worldly or unworldly aims of the 
writer. Upon these motives I have dwelt at length. There lies 
before us a large field for precise research, and for speculation.' 

' See Appendix for further remarks on the conventional uses of false names, mere pen- 
names, and on the survival of writings which seem to contain no name (that is, of anonymous 
or supposedly anonymous works). 



FRANCIS BACON 35 



CHAPTEE lY 

METHOD 

Unless all the acrostic signatures in this book are accidents, we must 
regard them as the means by which Francis Bacon, his brother, or 
his confidential servants placed an identifying mark upon works for 
which their author wished not to appear to be responsible before the 
world at large. The same remarks must hold for Ben Jonsou, John 
Milton, and the rest. This siipposition I use as a working hypothesis. 

Where an acrostic occurs in a complimentary verse, I leave it to the 
common sense of the reader to determine to whom and by whom 
the verse was written. 

The device is simply that of a hidden acrostic, the end letters of 
which are visible and prominent in their position, but the inner letters 
of which are hidden and follow one another in their proper sequence 
from one visible end to the other visible end of the acrostic. 

The word ' sequence ' is here used by me for the sake of conven- 
ience. The mathematician will not justify the use of the woi'd ' series,' 
for the component figures of a mathematical series must bear a definite 
relation to one another. In this method of Bacon's, the letters of the 
string, between the first and last of which is placed an acrostic, need 
bear no definite mathematical relation to one another. Chance may 
govern their position. Evidence that design has been exercised is 
seen in the fact that by placing your pencil on the first letter of the 
string you can predict the position of the final letter of the acrostic. 

The features of this scheme, or trick, are as follows : — 

(1) Having surveyed what you have written, you choose a pro- 
minent or an appropriate place to begin, and an equally prominent or 
appropriate place to end your acrostic. 

(2) Your choice of places foi- beginning and ending will, as a rule, 
be determined by the ease with Avhieh the acrostic can be adapted to 
the words at the corners of the stanza, poem, column, page, or series 
of pages. 

(3) It is often easy to change a word at the corner, or in the text, 
in order to fit the acrostic to the place chosen. 



36 SOME ACROSTIC SIGNATURES OF 

(4) The places naturally chosen for a signature are : the dedication, 
the preface, the so-called printer's preface or address to a patron 
or the reader; the first page or the last page; or, if convenience or 
prudence dictates, the second page or the last page but one. Some- 
times there is a signature both at the beginning and at the ending of a 
piece. Sometimes also, and this is very often the case, one half of 
the acrostic will run from one corner of the text and the other half 
from an opposite corner, and they will be made to meet in the midst 
of the text, on the same letter, thus, we may say, keying the cipher 
to the same letter. 

(5) You will not read your acrostic into the text following its mean- 
ing as we now do, from left to right; but you will read alternately 
from left to right, then right to left, to the one hand on the first 
line, to the other hand on the next line, and so on, until you have 
completed your name. This affords you the facility that comes of 
treating your text as if it were a continuous string of letters. (See 
examples on pp. 49, 51.) Hence I shall always allude to this method 
as a ' string ' cipher. 

(6) You may apply this string cipher to (a) initials ; (&) terminals, 
i. e. letters beginning and ending a word; (c) terminals of all whole 
words and part- words, i. e. parts divided by a hyphen; {d) all letters 
in the text; (e) outside letters of a page or side of a page ; {f) initials 
outside of words of a page, or side of a page ; {g) capitals. 

(7) Whichever letters you choose to employ — initials, terminals, all 
letters, capitals, outside letters or initials, the method of employing 
them is the same. It is this: — 

Having settled upon your visible ends, you follow your acrostic in 
the lines of the text, in alternate directions as if the letters were on 
a string, until it ends on the letter on which you have decided as the 
visible end of yonr acrostic. 

If you ai-e dealing with the mitside letters or initials only, of a page, 
you naturally read in one direction only. But if you are dealing with 
the lines of the text, and, say, with the initials of the words, — having 
the point of departure, you follow the lines in alternate directions as 
if the letters were on a string (ignoring all letters but initials). Sup- 
pose you wish to insert the name Frauncis Bacon: you begin your 
acrostic with an i^ prominent as the initial of a corner- word, and then 
seek the next initial R, then the next initial A, and so on until you 
have come to the end of your name, wliich must he the letter N pre- 



FRANCIS BACOlSr 37 

arranged as the visible end of your acrostic. If it will not so fall, 
then, if you are the cipherer, you must use your skill as an editor and 
so change a word here or there as to force the end of your name to 
fall on the letter that you have prearranged to be the visible end of 
your acrostic. You will be able to do this in many cases by changing 
the position of your B, or your O, or any one or two of the words 
the initials of which you find in your way. 

(8) A very little practice will enable you to see with how much 
ease this can be done with no loss of beauty, or change of metre, or 
sense, in your composition. 

(9) Often in making a cipher you will find it easy to begin inde- 
pendently from opposite ends of the acrostic and force your cipher to 
key itself on a given letter which may be found standing handy 
in the midst of the composition. For instance the Latin ablative 
Francisco, if spelled from one visible end, and the word Bacono, if 
spelled from the other, can be readily made to meet on the same 
letter 0. 

(10) I have considered an acrostic as ' keyed,' not only when ar- 
ranged as just described, but also when it begins at a monogram or 
letter at one corner of a block of type, stanza, page, column, etc., 
and ends at a monogram or letter at the other end or opposite corner; 
but it must be so considered also when it runs from the first letter of 
the first word to the first letter of the last w^ord, or to the first letter 
of the first word of the last line. 

(11) When dealing solely with capital letters of one font, I have 
considered the acrostic as ' keyed ' when it runs from end to end of 
the side of a page: also, when it runs from the initial of the last word 
of a book to the initial of the first word of the same book, as is the 
case with the book entitled Of the Coideis of good and euill, a frag- 
ment. Also, when it runs around the outside of a page and meets on 
two adjoining letters. Also, when two different acrostics lead to the 
same letter. 

(12) You will find that some of the signatures in this book have 
been found where some seemingly accidental double entente in the 
text made the place chosen by the cipherer peculiarly appropriate. 
For instance, signatures will be found to key from ojiposite ends of 
a column, on the initial iV^of the word Name or on the O in owner. 
Or, immediately under the line, ' There to all Eternity it lives.' Or, 
on the line next to ' My hand is ready to perform the Deed.' 



38 so^m ACROSTIC sig:n"atuees of 

In some of these cases it seems as if a line might cattily have been 
■written witli the purpose of giving the name a half hmnorously 
chosen place, depending on the double entente of the text. 

(13) Another ingenious and very simple method, to wliich we have 
already alluded, is that of using the outside letters of a page. Still 
another, a variant of the foregomg, is that of using the initials of aU 
the outside words of a i^age, or of a poem. A good example of this 
tJ-ick is seen in Ben Jonson's poem, To the memory of my beloved Tlie 
Author, in the First Folio of Shakespeare's Plays, a facsimile of 
which is shown on page 32-4. A remarkable example of this trick is 
seen in Heming and Condell's dedication of the same Folio, and also 
in the addi-ess To the Great Variety of Headers, f acshniles of both 
of which are given on pages 312 and 321. 

(14) As a working hypothesis I shall suppose that the cipherer 
has been governed in his choice of a place in which to insert his 
name (or on which to make his acrostic meet from opposite corners) 
by any of the following circumstances: (a) That the page is either 
at or near the beginning or end of the work to be signed; [h) that 
the accidental fall of the letters is auspicious, or can be easily made 
so; (c) that the word or lines carry a double entente which can be 
turned to account. 

I shall also suppose that when the cipherer has taken advantage 
of an auspicious fall of the text in other than the usual places for a 
signature, he has marked the j^lace by a wrong pagination or by some 
other such easy way to enable him to put his hand on it. 

(15) Although this method might be discovered to, or by, a con- 
temporary like Jonson, Hall,^ or Marston, it is of such a nature that 
no direct charge of authorship could be made on the strength of it. 
The satirists might write epigrams of caustic moral or literary crit- 
icism, but they could not name their man without laying themselves 
open to a prosecution for libel, if the man they satirised by innuendo 
was powerfid, and held that the reputation for the authorship of 
the satirised works would have injured him in his career. For the 
defendant to have proved that the complainant signed his name in 
this acrostic fashion would have necessitated some such laborious 
work as this of mine. 

Acrostics in poetry, so we learn in the encyclopaedias, are a kind of 

> See Part II. 



FRANCIS BACON 39 

composition the lines whereof are disposed in such a manner that 
the initial letters make up some person's name, title, motto, or the 
like. The word is derived from the Greek aKpos, at one of the ex- 
tremes (Latin, 'summus,' or 'extremus'), and aTCxo<;, a hue of writ- 
ing, or a verse. 

There are also acrostics where the name or title is made up by the 
initial letters of inner words, or the last letters of the final ones; and 
other acrostics which go backwards, beginning with the fu-st letter 
of the last verse and proceeding upwards. 

In these costermonger times we have come to regard ourselves 
and our learned leaders as very serious persons, and to be shocked 
when we catch a Pundit gambolUng along the by])aths of intellectual 
recreation. The truth is that many of us, malgre nous, are prigs, and 
walk through life with our heads in the clouds, stoojjing sometimes 
to earth to get a little food and to attend to some practical duty. We 
who have this habit of mind are wont to look askance and to cough 
when we find a fellow Olympian winking to himself over something 
that has amused him below the level of his nose. 

Many of the modern encyclopedias class this clever and, in its day, 
useful art of acrostics, among the puerilities and the literary triflings 
of men who should have been employed more profitably. At some 
future time similar critics in similar encyclopjedias may regret the 
time wasted by ourselves over the game of bridge, or in writing 
verses in diflficult rimes.' "What we are prone to regard as puerilities, 
because we do not always imderstand the purposes which they served 
in bygone times, have fared like many activities once identified in 
the imagination of the Puritan with the vices of the courtly life of 
his time. 

The use and exercise of this skill in acrostics is of great antiquity. 
Cicero tells us^ that the Sibylline oracles were written in a kind of 

1 '. . . Rime being no necessary adjunct or true ornament of poem or good verse, in longer 
works especially, but the invention of a barbarous age, to set off wretched matter and lame 
metre ; graced indeed since by the use of some famous modern poets, carried away by cus- 
tom, but much to their own vexation, hindrance, and constraint to express many things 
otherwise, and for the most part worse, than else they would have expressed them.' (Milton 
in his preface on the verse in Paradise Lost. Edited by Masson, 1882.) 

- ' Non esse autem illud carmen furentis, cum ipsum poema declarat, (est enim magis artis 
et diligentiae, quam incitationis et motus), turn vero ea quae axposrixh dicitur, cum deinceps 
ex primis versus Uteris aliquid connectitur, ut in quibusdam Ennianis, [quae Ennius fecit]. Id 
certe magis est attenti animi, quam furentis. Atque in Sibyllinis ex primo versu cujusque 
sententiae primis litteris illius sententiae carmen omne praetexitur. Hoc scriptoris est, non 
furentis ; adhibentis diligentiam, non insani.' (2>e Divinatione, lib. II, § liv.) 



40 SOME ACROSTIC SIGKATURES OF 

acrostics. The Greeks cultivated the art, and so did their intellectual 
successors, the Latins. The arguments of the comedies of Plautus 
contain acrostics on the names of the respective plays {Encydojxedia 
Britannica), and Ben Jonson himself has used, the same device in 
the versified argument which jirecedes his own play, Yolpone} 

A rude form of acrostic is to be found in the Holy Scriptures, for 
instance in twelve of the Psalms, hence called the Abecedarian 
Psalms, — the most notable being Psalm cxix. This is comj^osed of 
twenty-two divisions or stanzas, corresponding to the twenty-two 
letters of the Hebrew aljihabet. (Walsh, Literary Curiosities.) 

We learn from the Dictionnaire ITtiiversel (Larousse) that 
' L'acrostiche passa avec I'usage de la langue latine chez les ecri- 
vains des premiers siecles de I'ere chretienne. II fleurit au moyen 
age dans les cloitres; il occupa I'esprit des poetes de la Renais- 
sance, qui en augmenterent a I'envi les difficultes. Aujourd'hui 
l'acrostiche est a peu pres abandonne et I'on traite volontiers de 
laborieuses niaisei'ies, nugae difficiles, tout ce qui ressemble a ce jeu 
d'esprit.' 

La Grande Encyclopedie also says that ' On appelle acrostiche 
une poesie faite de telle sorte que les premieres ou les dernieres let- 
tres de chaque vers forment, par leur reunion, un ou plusieurs mots 
— generalement des noms projDres. Les premieres ou dernieres let- 
tres, composant le mot ou les mots qu'on a pris pour sujet, sont dis- 
posees verticalement, de telle fa^on que le nom mis en acrostiche 
se lise du premier coup d'oeil. 

' Mais les acrostiches sont parfois plus compliques : certains poetes 
ont augmente la difficulte en faisant repeter a la fois aux premieres 
et aux dernieres lettres des vers le mot propose. D'autres sont 
alles plus loin et ont fait des acrostiches triples, quadruples, quintu- 
ples, reproduisant le mot un nombre quelconque de fois, souvent de 
la f a§on la plus bizarre, verticalement, horizontalement, en diagonale, 
en forme de croix, etc. . . . Nos' poetes du moyen age et de la Re- 
naissance ont laisse de nombreux acrostiches latins et f ran^ais : ce sont 
eux surtout qui se sont evertues a faire, en ce genre infiniment 
secondaire, des tours de force d'une ridicule bizarrerie. A cette epoque, 
il arriva tres souvent aux poetes de se servir de l'acrostiche pour 
cacher leur propre nom, ou bien encore le nom de quelque maitresse 
a laquelle ils addressaient leurs vers.' 

• See page 3. 



FEAKCIS BACON 41 

U and V: I and J: I and Y. 

V. In Middle-English, v is commonly written m in the MSS., 
though many editors needlessly falsify the spellings of the originals 
to suit a sujjposed popular taste. Conversely, u sometimes appears as 
V, most often at the beginnings of words, especially in the words vs, 
vse, vp, vn-to, vnder, and vn- used as a prefix. The use of v for n, and 
conversely, is also found in early printed books, and occurs occa- 
sionally down to rather a late date. Cotgrave ranges all F. words (i. e. 
French words) beginning with v and u under the common symbol 
V. We may also note that a very large proj^ortion of the words 
which begin with v are of French or Latin oi'igin; only vane, vat, 
vmewed, vixen, are English. {An Etymological Dictionary of the 
English Language, by the Rev. Walter W. Skeat, Litt.D.) 

The distinction now made by typographers and writers between 
U and V, I and J, was not firmly established until after Bacon's day, 
either in capitals or in the lower-case. The capital V was often used 
for the capital fat that time, but the use of a capital £7" for a capital 
V was not common. The same usages of course applied to the con- 
temporary manuscripts. • 

The letter y at that time, and for some time afterwards, was occa- 
sionally used in the place of the letter i in such words as tyme = 
time; ayre = air; lyon = lion, and in many others. 

For our purpose it is not necessary to call the reader's attention 
to other peculiarities of sixteenth and seventeenth century typo- 
graphy. Those which I have mentioned are those which concern our 
work. 

Tlie letter U or Y in the name ffrauncis. 

Wherever T^or U, v or u, fall between the a and the n in the 
acrostic figure of Frauncis or ffrauncis, I have included them in 
the spelling. They may sometimes be passed over without spoiling 
the spelling of Francis, or ffrancis, as the name was sometimes 
spelled. 

The treatment of words not regularly set. 

I have found that for acrostic purposes a line of type is treated 
as a line of letters, and that it is sometimes the case in verse that a 
word or two has been carried up to the line above, or to the line 
below, as for instance in the following lines: — 



42 SO^IE ACROSTIC SIGNATURES OF 

Ant. Favours? By loue that thunders. What art thou, 
Thid. One that but performes (Fellow? 

The word which is carried over belongs to the line on which it 
stands tyijographically; and in reading for the acrostic it must be 
read with that line. 

The treatment of abbreviated names of characters, and stage-directions. 

I have found that for acrostic purposes the abbreviated names of 
characters are not used in the acrostic spelling, except in very few 
well-defined instances to which I have called attention in their places. 

I have found that for acrostic purposes the stage-directions are 
not used* in the acrostic spelling; but, and this is important, the lines 
of stage-directions are to be followed in their proper order, although 
their letters do not covmt in the acrostic. 

A line of type to be regarded as a row of letters. 

In reading acrostics we must remember that a line of type is to be 
regarded as a row of letters, regardless of their meaning. If the 
acrostic is to be read on the initials, the spacing of the words will 
give you the initials. If the acrostic is to be read on the terminals, 
the same convenience is derived from the spacing of the words. If 
the acrostic is to be read on the capitals, it would not matter if there 
were no spacing of words, and the same is the case if the acrostic is to 
be read on all the letters of all the words. If the acrostic is to be read 
on the first letters of the several lines, it does not matter if there is but 
one letter to a line. Typographically speaking, a single letter betAveen 
an upper and a lower line of type is ipso facto a line of type in itself. 

Throughout this book I shall take it for granted that each reader 
has taken the trouble to master thoroughly the foregoing features of 
the method. If in the following pages I have xm wittingly been obscure, 
it will be easy to refer to this chapter. 

Those who follow me with the books themselves should use the 
first known editions, especially in prose. In verse it is sometimes 
possible to read the acrostic as well in a modern as in a first edition. 
As a rule, however, the habit of modernising the speUing, or of carry- 
ing over a line to fit a narrow column, will prevent the reader from 
following the acrostic. Another reason for using first editions is that 
in them it was customary to use capital letters of extraordinary size 

1 With the few exceptions noted in their places. 



FRANCIS BACON 43 

in prominent places in a verse or a page. These large capitals are 
often used by the cipherer as marks or pointers to draw the attention 
of the illuminati to the hidden name of the author. Acrostic-makers 
called them Leaders. (See page 88.) 

In one or two cases I have been unable to obtain photographs of 
first editions; for instance I have used Hasle wood's edition (1811) of 
the Partheniades, which were not printed until their appearance (1788) 
in the second volume of the Progresses, from the Cotton MSS. I have 
also been obliged to content myself with Begley's transcripts of A. B.'s 
sonnet in England's Helicon, and of F. B.'s dedication in Palladis 
Palatium. 

It must be borne in mind that when the cipherer's main object 
is the insertion of a cipher, the matter containing the cipher is of 
secondary importance. In that case the obvious meaning of a passage 
containing a cipher is, or may be, chosen or designed to allay sus- 
picion ; so that when the text has no aj^parent indication to suggest 
a cipher, the absence of suggestion by no means indicates the absence 
of a cii^her. The cipherer relies safely on the fact that the reader will 
fix his attention on the obvious meaning of the written matter, and 
that he will therefore not suspect the hidden, or secondary, meaning 
of the arrangement of the types of which the matter is composed. 
The more obvious the meaning, the more easy it is to insert a cijiher 
without arousing suspicion. 

The cii^hers or acrostics which I have discovered reverse the order 
of intention described above. In each case the acrostic is of second- 
ary importance, and was put into the composition after it Avas written, 
and, so far as we can judge, for the purposes of identification, or for 
a personal satisfaction. Thus the writing was done free from all 
restraint and with little thought of the name that was to be inserted 
after its completion, or when it came to be printed. 

Surprise will be expressed that a poet should take so much time to 
put his name to his work in such a manner. The reply to this impli- 
cation is to suggest that the reader practise with his own name on a 
column of the first magazine which comes to his hand. He will find 
that it takes but three or four minutes to insert his name from one 
corner to another, and to modify the words without interfering with 
the meaning of the text. In other words it will take about as much 
time as it takes to write out a cheque and sign it. He can key his 
cipher to the centre if he choose, by arranging it so that it runs from 



44 SOME ACROSTIC SIGNATURES OF 

opposite corners to a letter in the middle of the column. This takes 
very little more time. 

There is no need to suppose that the poet himself inserted all the 
signatures. Any one of several competent servants could have done 
it for him. 



FEANCIS BACON 45 



CHAPTER V 

PRACTICAL SPECIMENS OF ACROSTICS AND STRUCTURAL 

SIGNATURES 

Most of the devices which now follow are acrostics, which may be 
plainly visible, like the specimen on page 55; or hidden, like the 
specimen on page 59. They may be partly hidden and partly visible, 
with enongh of the acrostic in sight to spur the suspicious or con- 
versant to find out the method by which the gaps may be filled in. 
The structural signatures in Part II are acrostics of this latter kind. 

At the risk of repetition let us give the steps again. 

Instead of exjDosing the whole name, as in the Walsingham speci- 
men on page 54, suppose that the first and last initial letters are 
exposed, respectively on the upper and lower right- or left-hand cor- 
ners of a stanza or distinct block of prose, the rest of the letters 
of the name being allowed to run through the stanza and to fall on 
the initial letters of any word they will. Then all that a cipherer has 
to do is to see that the name begins, for instance, on the top left- 
hand corner initial of the text, and ends on the initial of the word at 
the left-hand corner at the bottom; he can change any intermediate 
word, and ensure the result by the use of the ' string ' cipher method. 

Bear in mind that when you are dealing with initials, you deal 
with no other letters but initials. The rest are mills, for the nonce. 

Note. — In a few places I have deemed it necessary to frame the text with a 
set of short pointers to alternate lines, so that the reader may follow my hand with 
the least possible trouble. In some cases also, for the same reason, I have under- 
lined the words or letters involved in the ciphers. It is my wish that each reader 
shall satisfy himself that each signature is to be foimd where I say that it stands ; 
so I have not made marks on most of the facsimiles. Each reader may do this 
for himself. 

When I use ' graphic ' figures, I treat as straight lines all signatures which run 
from opposite point to point. Their actual direction is, of course, often zig-zag, 
but I have deemed it best to show the ' line of least resistance.' The same rule 
holds good when the acrostic starts out from a corner and ' keys' itself back again 
to the nearest letter on the same corner of the text from whence it set out. Here 
the zig-zag line of the circular figure will be 'graphically ' shown as a plain circle 
from point to point. 



46 SOAIE ACROSTIC SIGNATURES OF 

Bear in mind that when yon are dealing with all letters, you are 
not dealing with mitials only. So also in the use of terminals and 
capitals. 

A little care will soon develop facility. 

Let us now look at a few ciphers of which ours is a simple variant. 
For instance : The hidden letters of a name may be made to fall in the 
text in a definite mathematical sequence, as in the prose example from 
Selenus, shown on page 63. This method is difficult, and not suitable 
for a signature such as we have in mind, because it controls the com- 
position even more than does the Walsingham example on page 54. 
It would take a long stretch of text to enable the writer to make a 
signature with ease. 

The most skilful signature that I have seen, based on this method 
of the early cipherers, is that of Poe, shown on page 69, in which 
he puts the name of Frances Sargent Osgood. 

The method of inserting a message into a non-significant text, 
by a system of mathematical sequence, was common, and as many 
changes can be rung upon it as the cipherer chooses. They all can 
be easily detected, however, by a competent decipherer. 

As Francis and Anthony Bacon were familiar with ciphers, they 
might easily have discerned the ease and the secrecy which would 
come by discarding the mathematical sequence in favour of a sequence 
with limitations imposed only by the length of the text itself. As 
thus : — 

BACON 

BC ADCPOHN 

BRC AKDCNPOSHN 

BARCAKDCBNPOSHN 

BBAAARCAKDBCBNOPOSHN 

Here it is evident that if you seek the next letter in the name in 
its proper sequence, you will spell ' Bacon ' in each of the above 
lines. Now imagine each of these letters to be an initial of a word 
and see the result when the method is applied to a piece of my own 
composition on page 59. 



FRANCIS BACON 47 

"Now note what happens when a letter is allowed to stand in the 
wrong position : — 

BBAAARCAXDBCBNOPOSHNI j . ... 

T> A p /-) TV ( correct position. 

BBAAARCAKODBCBN^OPOSHK 1 j 

B ^ CO N j- In wrong position. 

By allowing the O to follow the K we have spoiled the cipher: 
that is, we have prevented it from running from the visible end B to 
the visible end !N^. 

Now note what happens when we remove the first C: — 

BBAAARAKODBCBNOPOSHN 

B A CON , 

The cipher runs out correctly again: but it could have been recti- 
fied as easily by removing the obstructing O. 

Note also that it by no means follows that the acrostic will read 
both forwards and backwards. To make it read both ways, forwards 
and backwards, it must be designed so to read. 

The reader will readily see that the name could be thrown on an 
entirely new set of letters by the removal of the A; and that the 
change of a single letter might easily obliterate the name or cipher. 

Here we have the letters in a string. Suppose that each letter is 
the initial letter of a word; then in order to keep them in a string all 
that was necessary was to fall back on the zig-zag method of writing 
used by the early Greeks (already alluded to), and described by 
"William Blair in the article on Ciphers in Rees's EncyclopcBdia, the 
simplest and most meaty article on the subject that I have yet seen. 
The Chinese to-day write in the same way, but up and down; and 
Cicero, in a metonymical sense, uses the word Exarare, meaning to 
write on a tablet; i. e. to plough back and forth over the field. 

This string or zig-zag order will give an acrostic on initials, term- 
inals, capitals, or all letters in the text, and running alternately with 
and against the sense of the text or composition, and absolutely inde- 
pendent of its meaning. 



48 SOME ACROSTIC SIGNATURES OF 

The following strings of letters show how a string of initials, etc., 
may read forwards; backwards; forwards and backwards; forwards 
but not backwards; backwards but not forwards; at the will of the 
cipherer. 

(a) Forwards (to right) and backwards (to left). Spelling ISTOCAB. 

NABCDEFGHIJKLMOPQRSTUYWXYZCAGFEDNB 

N O CA B 

:N^ O CA B 



(b) Forwards but not backwards. Spelling NOCAB. 

NABCDEFGHIJKLMNOPQRSTYWXYZCAGFEDHB 

1^ O CA B 

NO CA B 



(c) Backwards but not forwards. Spelling NOCAB. 

NABODEFGCHIJKLMPORSTUVWXYZABCDEFGB 

N--0 C A B 

N--0 C AB 



(aa) Forwards and backwards. Spelling BACOX. 

BCDEADCDEFGHIKLMNOPRSTUVWXYABCDOFN 

B A-C O N 

B A-C-O-N 



(bb) Forwards but not backwards. Spelling BACON". 

BCDBFEGHIKLMXOPQRSTUWABCEFGHILMATON 

B A-C ON 

B A-C ON 



(cc) Backwards but not forwards. Spelling BACON. 

BCDEFGHIKLMNOPRSTUVWABCEFONHIKLMPN 

B A-C--0 N 

B A-C--ON 



fea:n^cis bacon 



49 



* Orapliic ' Example of Bacoti's Method 

The letters are shown as if they were strung on a strmg, and 
keyed from and at different points. 



1. Left to right. 



-> -F-R A-U-N-GJ *• B-A-C-O N-» 



2. Upper left F 
to 
lower right N. 



3. Upper left B 
to 
lower left O. 



4. Lower left F 
up and back again 

to 
lower left N. 



^ -FR-A-U--N---. 

I 

<- ,--B- -S - -I- -G-' 
-> 'A C O N-- 

Frauncis Bacon 

-> B---A---G-V 
♦- 0-- -'' 






Bacono 



._._N-' 



_,,B -S. 

>0 -A -I -< 

;,o^ -u- c < 

'"-FHR-- --A"'' 
Frauncis Bacon 



<— 

-> 
<— 



<— 



5. Upper left F 

down and back again 

to 
upper left O. 






,F .R- - - A - -. -> 

'^,a --G- ---N-/ 4- 

So -A ---B-C <- 

I » 

I ' 

-- o-' -> 

Francisco Bacono 



The reader will observe that it does not matter how many letters 
may fall between the letters of the name, so long as they are not 
allowed to interfere with the sjielling of the name itself, from point 
to point. 



50 SOME ACROSTIC SIGNATURES OF 

A^iother Examjyle of the String Acrostic 

On the opposite page is a string of 723 letters. Begin to read 
from the letter F which begins the first line, to the right on the first 
line, to the left on the second line, to the right again on the third 
line, and so on, downwards, taking the next K, then the next A, 
then the next N, and so on, until you have spelled FRANCISCO 
BACONO. You will arrive at the bracketed letter O. Repeat 
this process begiiming from the letter F which ends the last line, 
but this time read to the left, and upwards. You will arrive again 
at the same bracketed letter O, and will thus key the cipher. The 
acrostic figure here is : — 

F 
R 
A 

C 
I 

s 

C 
O 
B 
A 
C 
O 

[O] 

o 
c 

A 
B 
O 
C 

s 
I 
c 

A 
R 
F 



FRAlSrCIS BACON" 51 

FMPTSPABTDODEWAAMNPSOMI AMPTI O 
BLTRTGWWTMOWCDYOORTF S TEADWOLL 
TWSRHSHEAPFOTLI I AMTSFTTSCAVDB 
AFEABAI MNTANTTOATSOASTBBI HI SS 
MS AAS BAI AS BDHEOBTTgHGCTTDDLBM 
TACTDMHAVACTSVATHRHRTAPTQTVAT 
LBTYTMCWYWADSETWLEWMWSSI BTCHN 
EVGMSTI TAHTCNHBI ETGTCWFAWTDFT 
MTWMWTTYWWBNNBVOLMGSMWVI I SWI B 
PBWHI LI I OWI BBHONHMBAVAWHBFMWA 
VI OMDFMTETAHGCOGARLSMOEKFMDFW 
S AHMPFHFMBWTPPTBHS AAFVOMS NWAM 
AS AWI WBS BLBNS HTAI MOTGS OTLS OTS 
BMTBADWWMATVHAI TSI NBBDBNCAAWW 
AS OTFTPWEPS MATVBABI MWNMP[0]PMNW 
BTAWDSWHEFLAVI AATSWCARHOFMDMM 
GATI OOHHMRNWDLBFWOLTHDGMFOVCB 
BFWSSMCWMOWI TYWTMSWGHI DI OWDAD 
WAPPOTiPBFTWl FFMTF'mTS DFTAMNWMO 
LTFCMWMALTSTSRTVBOBSFS STATI WF 
BMSSAVHFHSASMPFSBWTOTOOHTWI HB 
OSAEETMFWCOWOEOFTCTDMWAI OTOHL 
FAFS OTTS TWACTCWALTS GVTEVOTVTD 
OCTOETVTAMFFS TTS WCAWDLWHOBTBA 
BETCOLMS NMBWTBS TGNFOMDNBOS F 

The above string is composed of tlie initials of the words of the 
text of a Folio page given in another part of this volume. The 
initials are here printed in the order in which they appear, as 
strings, in the first Folio page of The Comedie of Errors. The 
strings run from either end to the centre letter [O]. 



52 SOME ACROSTIC SIGINATUEES OF 

It must be remembered that the string cipher-method (as I call it 
for convenience), which Bacon used, is not less definite in its aspect 
as a series of letters than is the method of the cipherer who uses 
such a series as, say, the initial of every second word, or the initial 
of every fifth word. In Bacon's method, we find that he uses, say, 
the first F of the first line, then the next R, then the next A; and so 
on. The next is, mathematically, precisely as definite in sequence as 
the second. Bacon does not use any following R, and then any fol- 
lowing A; but he uses always the next R and the next A, etc. The 
result is then as certain as a stated mathematical sequence, when 
you remember that the sequence begins and ends on two fixed points. 

It is also worth remembering that a mathematical series is no 
less subject to chance than the limited alphabetical sequence used 
by Bacon, though at first sight it seems to be so. The one is as 
susceptible of being produced by design as the other. For instance; 
it is possible that if you were to empty on the floor a bag containing 
a million figures, they might hy chance so remain on the floor that 
they would exhibit a regulai'ly formed multiplication-table up to 5 
times 10. But it is not within the bounds of imagination that the same 
figures again thrown down, with the same lack of design, would yield 
the same or even neai'ly the same results. There is a chance that 
they would, however; 

The curious in such matters of chance may be interested to know 
that William Blair, in his article on Ciphers in Bees' s Encyclojxjeclia, 
gives a table which Avas prejiared by the British Admiralty to show 
how many transpositions may be made of an alphabet of 36 letters 
for signals. (Mentioned on page 47.) I reproduce here four rows of 
figures showing, respectively, how many times 10, 16, 21, 36, letters 
may be transposed. 

10. 3,628,800. 

16. 20,922,789,888,000. 

24. 620,448,401,733,239,439,360,000. 

36. 371,993,326,789,901,217,467,999,448,150,835,200,000,000. 

The mind refuses to grasp these figures, and a mathematician alone 
could tell us how many chances there are against two identical trans- 
positions turning up when no design has been exercised. 



FEANCIS BACON^ 53 

To return to our specimens, let me say that I have prepared a feAv 
mathematical and other acrostic ciphers to show that a mere tyro at the 
work can make them in a few minutes. I have also wished to shoAV 
the reader how easy it is to force even that most delicate of all com- 
mon poetic forms, the Sonnet, to receive one of Bacon's acrostics 
twenty odd years after the poem had been written, with no fore- 
thought of such treatment. Let me again remind the reader that the 
specimens of acrostics and structural signatures in this chapter have 
been given to enable him to form an idea of the long jjeriod during 
which such literary devices have been used. The specimens will also 
enable the reader to practise his hand and eye in several acrostic 
methods before he begins to read Part II, containing the signatures 
of Francis Bacon, and others, which it is the purpose of this book to 
set forth for the first time. 

We will set out with the definition of an acrostic as it is given 
in Murray's A New English Dictionary: 'A short poem (or other 
composition) in which the initial letters of the line, taken in order, 
spell a word, ^jhrase, or sentence. Sometimes the last or middle letters 
of the lines, or all of them, are similarly arranged to spell words, 
etc., whence a distinction of single, doxMe, or triple acrostics.' 

This definition is correct except in saying that an acrostic is a short 
poem. Witness Boccaccio's VAmorosa Visione, which is a very long 
example. 



54 SOME ACEOSTIC SIGNATUKES OF 

Explanation of Specimen A. 

This specimen shows an ordinary ' visible ' acrostic in its simplest 
form. 

It is to be read on the initial of the first word of each line, begin- 
ning at the initial of the first word of the first line and ending on 
the initial of the first word of the last line. 

The acrostic is Sm Francis Walsikgham. 

Note how this method cramps the author's construction. 

Note also, that the matter is here of equal importance with the 
acrostic; because the intention is to pay a visible compliment and 
not to fix an identifying mark of authorship. 

The acrostic figure here is : — 

Shall, etc. 

I 

K 

F 

R 

A 

N" 

C 

I 

s 

A 
L 

S 
I 

N" 
G 
H 
A 

Make, etc. 

When describing the burial of Sir Francis Walsingham, Stow 
says that ' these verses called Acrostickes are also hanged uj?.' 
(Survey of London, 4th edition, 1617, p. 1632, as quoted by John 

Nichols.) 



FRANCIS BACON 55 

Specimen A. 

Shall Honour, Fame, and Titles of Eenowne, 
In Clods of Clay be thus inclosed still ? 
Rather will I, though wiser Wits may frowne, 
For to inlarge his Fame extend my Skill. 
Right, gentle Reader, be it knowne to thee, 
A famous Knight doth here interred lye, 
Noble by Birth, renowned for Policie, 
Confounding Foes, which wrought our Jeopardy. 
In Forraine Countries their Intents he knew, 
Such was his zeal to do his Country good, 
When Dangers would by Enemies ensue. 
As well as they themselves, he understood. 
Launch forth ye Muses into Streams of Praise, 
Sing, and soiind forth Praise-worthy Harmony; 
In England Death cut off his dismall Dayes, 
Not wronged by Death, but by false Trechery. 
Grudge not at this imperfect Epitaph ; 
Herein I have exprest my simple Skill, 
As the First-fruits proceding from a Graff e : 
Make then a better whosoever will. 

Disce quid es, quid eris; 

Memor esto quod morieris. E. W. 



56 SOME ACROSTIC SIGNATURES OF 

Ex2)lanation of 8j)ecimen B. 

This acrostic, or structural signature, by Villon is here produced 
to show that the printer's habit of using a capital for the first letter 
of every line, in verse, has made obvious an open veitical acrostic 
which might be readily overlooked by the careless reader of the 
manuscript on the opposite page. 

Villon A S^Amye} 

Faulse beaulte,^ qui tant me couste chier. 
Rude en effect, ypocrite doulceur; 
Amour dure, plus que fer, a mascher; 
Nommer que puis de ma desfa^on Seur, 
Cherme felon, la mort d vng poure cuer, 
Orgiieil musse, qui gens met au mourir; 
Yeulx sans pitie. ne veult droicte rigeur, 
Sans empirer, vng poure secourir? 

Mieulx m'eust valu auoir este sercher 
Ailleurs secours, c'eust este mon onneur. 
Riens ne m'eust sceu hors de ce fait hasier; 
Trotter m'en fault en fuyte, a deshonneur. 
Haro, haro, le grant & le mineur ! 
Et, qu'est-ce cy ? mourray, sans coup ferir, 
Ou pitie veult, selon ceste teneur, 
Sans empirer, vng poure secourir. 

Vng temps viendra, qui fera dessecher, 
launir, flestrir, vostre espanye fleur: 
le ^ m'en risse, s'enf ant peusse marcher, 
Lors — mais nennil — ^ce seroit done foleur. 
Las, viel seray ; vous, laide, sans couleur. 
Or, beuuez fort, tant que ru pent courir. 
Ne donnez pas a tons ceste douleur, 
Sans empirer, vng poure secourir. 

Envoi. 

Prince amoureux, des amans le greigneur, 
Vostre mal gre ne vouldroye encoui-ir; 
Mais tout franc cuer doit, pour Nostre Seigneur, 
Sans empirer, vng poure secourir. 

1 Grant Testament, p. 60. (Etivres Completes de Franfois Villon. Publiees d'apres les 
manuscrits et les plus anciennes editions, par Auguste Longnon : Paris, 1892. 

■■' The Stockholm MS. reads amour, and shows a few other slight variations. 

' In most of his acrostic signatures Villon uses one i in his name; in this the first i is vo- 
calic, and / mouille is represented with an >l (as in the word mouille itself). Observe that the 
acrostic in the third stanza does not include the initial letter of the first word of the refrain. 



FRANCIS BACON 



:^iK 



57 



A*» '» v >i» /^Uo*- jfCU^ ^ ^ ***" g ^ t T^'^^ ' ^ 






•w<d 



^l^ ^ *»«a 



a:i 



s 









V't S Satx 








^ PJU»- y w . ^ » » < »»i> ^^C%t^ mgttia/ 



Ballade. Reproduced from page 51 recto, Ze Petit et Ze Grant Testament 
(le Francois Villon, etc. Reproduction facsimile du manuscrit (about 1470) de 
Stockholm, avec une introduction de Marcel Schwob. Paris, 1905. (Harvard.) 



58 so:me acrostic sigxatuees of 

Explanation of Specimen C. 

This is a simple acrostic, with the end letters in sight as hints, and 
with all the interior letters hidden. 

Note the initials of the corner words. They are X . T 

F . i 

Begin to read on the initial F of the word 'foundation,' upwards, 
following the arrow-marks which are placed for your convenience, 
left to right on the first line ; right to left on the next line; and so on; 
using the next initial R that you come to; then the next initial A; 
then the next initial U, etc. You will amve at the initial X of the 
word ' Xotwithstanding ' at the left-hand corner of the top line, having 
spelled Fkau^'cis Bacox. 

Repeat the process; beginning on the initial I of the word 'imper- 
sonality, at the right-hand corner of the last line; reading upwards, 
but this time in a reverse direction. You will arrive at the initial T 
of the word 'to' at the right-hand corner of the top line, having 
epeUed Ixvt:xit. 

The acrostic cipher here is Frauncis Bacon Inyenit. 

I wrote the composition freely, and afterward threw in the cipher. 

Note that if the two words 'upon facts' (7th line from the bottom) 
were thrown into the upper or lower line next to them, there would 
be no cipher. 

It took me about ten minutes to insert this cipher after I had writ- 
ten the text. The needed changes at the end forced me into stilted 
construction. 

The acrostic figure here is : — 

Notwithstanding To 

O 

C I 



A 




B 


N 


S 




I 


E 


c 




N 


V 


u 




A 


N 


R 




Foundation 


Impersonality, 



The next example (Specimen D) is a good example of this method. 



FEA^CIS BACON 59 

Specimen C 

A pair of parallel acrostics, running from lower to upper corners 
(a) Frauncis Bacon, (b) Invenit. Illustrating Bacon's method. 

NOTWITHSTANDING the vested interests to <- 
which protection is given by reactionary pol- 
icies in religious government, there has been <- 

— > a steady growth of scientific training which 
has taught men to pay more attention to facts «- 

— > than to plausible inferences or attractive theories. 

To-day men care little whether Moses wrote the <- 

— > Pentateuch; but they care much about the prac- 
tical effect of his teaching. The belief held <r- 

—>■ by many educated persons until a very recent date, 
that the world as we know it was made by the <— 

— » Creator in six working days, is now regarded 
with amusement. So literary and historical «— 

— > beliefs, so far as they are not based on facts, 
have no inherent force for good, and must go down <— 

-^ before a scientific investigation. These remarks 
apply alike to the whole range of science, whether <— 

— > of chemistry, religion, mathematics, or to the 
history of literature. The odium litterarium springs <— 

-^ from the same source as the odinm theologiciim, 
namely from a mind befogged by inferences not based <— 

— > upon facts. 

The bane of modern literary history is a habit <— 

— > of reading between the lines. A reputation in 
scholarship built on this basis is jeopardised ^ 

— > by every honest search among documents. It is a 
habit opposed to that openmindedness the obvious <— 

—y foundation of which is impersonality. 



60 SOME ACROSTIC SIGNATURES OF 

Explanation of Specimen D. 

The method of this example is similar to that used in Speci- 
men C. 

Begin to read on the initial F of the word 'free,' which is the last 
word of the last line; to the left; on the initials; upwards; to the 
initial O of the word ' ore-throwne,' which is the last word of the top 
line ; having spelled Francisco. 

Again, begin on the initial B of the word ' be ' at the end of the 
last line but one; to the right; upwards; to the same initial O of the 
word 'ore-throwne' at the same right-hand corner of the top line; 
having spelled Bacoko. 

The acrostic cipher here is Fkancisco Bacoxo : i, e. By Francis 
Bacon. 

This specimen is a facsimile (except as to size) of the ' Epilogue ' 
to The Tempest as it appears in the first Folio of The Plays of Mr. 
William Shakespeare. It is a specially interesting example, as 
scholars have hitherto regarded The Tempest as the last play that 
the poet wrote. If this surmise is right, this Epilogue is the play- 
wright's last word to his audience, and the place whei-e he would 
be very likely to sign his name in cipher if writing either under a 
pseudonym or anonymously. 



The acrostic figure here is : — 




Ore-throwne, 


Ore-throwne, 


C 

s 
I 


N 
O 


c 

A 


C 
A 


R 


Be 


Free 





That is, Francisco Bacono,' — By Francis Bacon. 

' I leave it to others to discuss the correctness of the cipherer's Latin. As a working hy- 
pothesis, I shall treat the name Francisco Bacono as if it were the ablative case of Franciscus 
Baconus. It is possible that both Francisco Bacono and Antonio Bacono were Italianate pet- 
names used by the two brothers and their intimates. 



FRANCIS BACON" 61 

EPILOGVE, 

ipoken hy ^ro/j?ero. 

\10ufpry Ckarmes are all crO'throyv'ne ^ 
^ Andrvbatfire ng th ihaue's min e owne, <- 
Wbicktsmojlftim: now 'tis true 
ffnu^ be heere cm^ndehy yeu^ <^ 

Orfintto^^\ts^Ut me wf 
ScncelbauemyDukedcmegoty <- 

And pardon' d the deceiuer^ divell 
Ingb/j bdreijlajid, by your SpeS^ <r iv^, 

Butrekap me/ram my bunds ^ 

with thz belfi ofyourgoodh^aids : <- | 

Gentle breath of yours ^ nry Sailes '% 

MuftJiilyPrefJemyfrote^faiUSy <r- ^ 

fvhicb was topteafe : Now I want -v^jtrv^ 

Spirits to tnfhree : Artto.$nckant^ <- "^ 
And myeyi^tng is dcf^tre^ 
rnU^el he rdiea*d byprastr <^ 

Whsch pierces fat that it aff^ults 
Merry ttfel^, and frees allfdutts, ^ 

As you from crimes would pardoned be^ B^ 
Let pur hkiu^etteefes meftic, ^ Exit. 



' The Epilogue' to The Tempest, showing acrostics described on the previous page. 
The pointers and underlinings will show the reader how to read in alternate 
directions, and will thus carry him to the words the initials of which make the 
acrostic. 






62 SOME ACROSTIC SIGNATURES OF 

Explanation of Specimen E. 

This is a variant of the previous siiecimens. It is typographically 
(size excepted) like the text as it appears on pages 46 and 47 of the 
Cryptomenytices of Selenus. 

I print it to show a specimen of a mathematically planned cipher, 
in a non-significant text. This system can be modified to suit any 
mathematical sequence that the writer is subtle enough to devise. In 
this case, by beginning to read on the initial of the first word and 
continuing to read on the initial of every following alternate word, 
you will find the sentence : — 

HaC NoCTE post XII, VENIAM AD TE CIRCA JaNUAM QUAE 
DUCIT AD OrTUM. IbI ME EXPECTABIS. AgE UT OmNIA SENT 

Parata. 

Note that this composition is forced to meet the exigencies of the 
cipher. Note also the cipher is the cause of the composition, which 
is of an entirely secondary importance. 



FRANCIS BACON^ 63 

Specimen E. 

Exemplum Padielis, by Trithemius ; quoted from him by Selenus, 
edition 1624. 

Aliud Exemplum Padielis, cum 
hac infcriptione. 

Padiel Melion Parme Aniiel Bufayr lino Ma Venoga Pamelochin : h. e. " 
Sin 9Jict)nung. 

Humance falutis amator, imwerforum Creator maximits, nobis indixit " 
obedientiam mandatorum, cui otnnes tenemur obedire ex amove. Prceniium " 
vero obedientibus promifit,fempitern(B f(dicitatis tabernacidum poffidere. " 
Xhrifti obedientiam infpiciamus, quam imitari curemus, ut ad ceternam foe- " 
licitatem, nobis promijfam, ingredi mereamur : Angelorumquh confociari " 
manfionibus fempiternis. Aganius pcenitentiam dilni pojfumus : tempiis prai- " 
ciofum expendentes fructuosi. Caveamus ti^ imparatos Mors rapiat, qum " 
concedere mora alicui reciij'at. Ideoquh Fratres, agere pcenitentiam non tar- " 
detis. Velociter enini ad vos. Mors veiiiet : qnani nenio v^trttm, diil 'evadere " 
poteft. Dies ergo veftros tranfeuntes covjpicite^ pcenitentiam inchoantes., " 
quando tempiis habetis. Appropinqiiat hora decedendi hinc. O Mors rerum " 
terribilium terribilijfima, qudni velociter 7ios mi/eros confumis : Incolatum- " 
qui noftrum brevijjimum,7nidtis injuriis plenum, miferis facis ejfe crndele? " 
Evigilemus miferi, Xhrifto Jefu Saloatore noftro pyjfimo nos exhortante & " 
conteftante, ut turpes negligentias argiiamus, & bonis operibus,jiiftici(e vias 
foliciti cuftodiamus. Alme Hedemptor generis humani, exaudi nos, vetiiam- " 
qui nobis tribiie peccatorum. O Pater mifericordioe, J is 7iobis propitius, in " 
omnibus adverfitatibus nofti-is. Sana Domine infirmas animas noftras : quo- " 
niani tuifumus: Prcpfta nobis affliciis vermiculis,requiemfempitem(B atnoe- " 
nitatis, quatenHs te femper asfpiciendo laudemus. h. e. Hac nocte poft XII, " 
veniam ad te, circa januam, quae ducit ad Ortum, ibi me exfpectabis. 
Age ut omnia lint parata. 



64 SOME ACROSTIC SIGNATURES OF 

Explanation of Specimen F. 

This specimen was invented by me to show that the method ex- 
emplified by Specimen E may be used to enable a writer to write 
around a cipher, and at the same time say what is in his mind about 
any subject, with reasonable freedom in his composition. 

The initial of the first word here is significant, and the initials of 
the following thirteen words are nulls, or non-significant. This order 
or series of significant initials and non-significant initials must be 
read from left to right and is repeated throughout the page, and will 
yield on examination the sentence : — 

"VYllliam Stone Booth Inventt. 

The reader will find that, if he follows my directions, he will 
extract the following words from the page : — 

While . it . link . literature . in . always . matter . spirit . 
The . offered . never . entitled . Barrister . of . of . the . has 
into . napping . various . Elizabeth . not . it . the. 

It will be seen that the initials of these words yield the sentence, 
if put down in consecutive order. 

As many changes can be rung on this mathematical method of 
ciphering as there are combinations of numbers. Sometimes a cipherer 
would begin with a number of nulls, and make his significant initials 
fall on an uneven series like, say, the following fifth, sixth, seven- 
teenth, and thirtieth initials. It is merely a matter of agreement as 
to the understanding which he has with his correspondent. A skilful 
cipherer could write two ciphers into the same page of composition, 
— the one in an easy series, intended to be foimd out and to mis- 
lead, — the other to convey the true message. 



FRANCIS BACON 65 

Bjiecimen F. 

Wliile this book is addressed to students of History, there is little 
doubt that it will also interest the open-minded students of English 
Literature. Present methods of teaching link the two subjects too 
closely together. The ability to distinguish good from bad literature 
is guided at present by the same set of men as are engaged in teach- 
ing the History of Literature. The two functions must be related 
and should always be interdependent, but they differ essentially from 
each other. The one is a matter of literary beauty ; the other, of evi- 
dence. The one brings into play the spirit of the literary artist, the 
other the mental equipment of the trained cross-examiner. The same 
man is rarely trained in the two abilities, though both gifts are offered 
by Nature to the man who will cultivate them. Their marked differ- 
ence has never been so well exposed as in a recent book by Mr. 
G. G. Greenwood, entitled The Shahespeare Problem Restated. Mr. 
Greenwood is an accomplished and reliable scholar, a Barrister, and 
a Member of Parliament, and his able work proves to the satisfac- 
tion of the man whose vision is not befogged by inference, that in 
the minds of his educated contemporaries William Shakespeare the 
Actor was not identified with William Shakespeare the Poet. This 
is a very important step in an interesting historical discussion which 
has been, unfortunately, allowed by the most respected of our aca- 
demic leaders to drift into the hands of the layman. In plain words 
oiu- leaders have been caught napping. They have not taken into 
account the bare possibility that any one of various good reasons 
may have determined a great genius and ambitious young favourite 
of Elizabeth to publish poetry under a pseudonym. They have over- 
looked the possibility that this not only might be done easily, but 
might be done with such skill that it would completely hoodwink all 
but a very few contemporaries. They have apparently forgotten the 
letters of Junius, and appear to have ignored the methods of Fj-an- 
cesco Colonna. 



66 



SOME ACROSTIC SIGNATURES OF 



Specimen O.^ 

If the reader wish to try his hand at this easy cipher let him decide 
on his series, and rule his paper into as many divisions as there are 
numbers in his series. He will then write his message down the col- 
umn on which fall the significant numbers of his series, and will fill 
in the other columns with the non-significant words. 

For instance, if he wish to say 'Lord Burghley is opposed to your 
plan,' in a series of 1 and 7, he will rule 8 columns thus: — 



L 
O 
R 
D 
B 

u 

R 

G 

H 

L 

E 

Y 

I 

S 



Let 

of 

royal 

death 

brought 

upon 

reasons 

gives 

has 

left 

Every 

your 

in 

sacred 

etc. 



your 


actions 


amity 


between 


mistress. 


At 


of 


our 


to 


a 


the 


terms 


which 


led 


her 


entire 


withdrawn 


all 


open 


by 


article 


in 


Excell^y 


carefully 


as 


much 


Ma«« 


desires 


etc. 





be 

the 

the 

late 

head. 

of 

to 

consent. 

opposition 

the 

this 

maintained 

as 

nothing 



governed 


by 


a 


king's 


minister 


and 


time 


of 


the 


Chancellor, 


this 


business 


His 


Lo'ship 


now 


the 


treaty. 


and 


its 


adoption. 


Her 


and 


my 


Lo 


to 


the 


course 


death 


of 


the 


treaty 


must 


be 


in 


its 


original 


her 


most 


gracious 


so 


much 


as 



policy 

our 

lamented 

was 

rests 

the 

Ma"' 

Burghley 

now 

prince. 

by 

draft, 

and 

friendly 



Here we have a message which now looks like an acrostic, but 
which when re-written with, for example, nine Avords to the line, will 
not show evidence of design. To a person having the key to the 
series, the despatch contains a message which negatives its ostens- 
ible meaning. The despatch might be shown to the prince to whom 
the receiver was accredited, without arousing in him suspicion as 
to the writer's actual policy. 

' This specimen is given in further illustration of the device employed in the ciphers used 
in Specimens E and F. 



FRANCIS BACON 67 

Specimen H. 

By spelling from the initial B of the word ' By,' with which this 
paragraph begins, and then taking the next initial A, and then the 
next initial C, and so on, to the right on the first line, to the 
left on the second line, to the right on the thii-d line, and so on; 
the reader will not fail to arrive at this capital O when he has 
spelled the word Bacono. Now continue the experiment by spelling 
from the initial F of the first word of the last line; to the I'ight 
on the last line, to the left on the last line but one, and so on 
upwards; taking the next initial E, then the next initial A, then 
the next initial N, etc., completing the spelling of Francisco; you 
will arrive at the last letter of the acrostic surname, and 
finish reading at the capital O which is the node of the acrostic. 
The acrostic figure here is: — 

By spelling, etc. 
A 
C 
O 

N 
at this capital O 
C 

s 
I 
c 

N 
A 
R 

Finish reading, etc. 

The above specimen tells its own story. I have invented it in order 
that the reader may see how simple it is to throw one of the ' string 
cipher ' signatures into a passage describing the making of the signa- 
ture which is to be found in that passage. Part II contains several 
signatures made in this way. 



G8 SOME ACROSTIC SIGIN^ATURES OF 

Exjjlanation of Specimen I. 

The valentine on the opposite page was written by Edgar Allan 
Poe to his friend Frances Sargent Osgood.^ It contains an acrostic 
which I have exposed for the reader's convenience. 

In order to decipher this acrostic as he printed it you would have 
had to discover that you must read the first letter of the first line, 
then the second letter of the second line, then the third letter of the 
third line, and so on, until you have spelled the name of Frances 
Sargent Osgood. 

Note that this acrostic is read from left to right on every line ; but 
that each line is treated by itself as a string of letters. 

Note the close resemblance to the Bacon method if there had been 
a natural sequence instead of the mathematical sequence which is so 
easily exposed; and if the lines had been read as on a continuous 
string instead of as a series of broken strings from left to right. 

Bacon's method is child's play compared with this method of Poe, 
because its sequence of letters is not a forced and definitely mathe- 
matical series, though equally definite in its results. 

» The Works of Edgar Allan Poe. Edited by J. H. Ingram, 1809, vol. iii, p. 23. 



FEANCIS BACON 69 

Specimen I. 
A Valentine. 

1. F For her this rhyme is penned, whose himinous eyes, 

2. R Brightly expressive as the twins of Leda, 

3. A Shall find her own sweet name, that nestling lies 

4. N Upon the page, enwrapped from every reader. 

5. C Search narrowly the lines ! — they hold a treasure 

6. E Divine — a talisman — an amulet 

7. S That must be worn at heart. Search well the measure — 

8. S The words — the syllables ! Do not forget 

9. A The trivialest point, or you may lose your labor ! 

10. R And yet there is in this no Gordian knot 

11. G Which one might not undo without a sabre, 

12. E If one could merely comprehend the plot. 

13. N^ Enwritten upon the leaf where now are peering : 

14. T Eyes scintillating soul, there lie perdus 

15. O Three eloquent words oft uttered in the hearing 

16. S Of poets, by poets — as the name is a poet's too. 

17. G Its letters although naturally lying 

18. O Like the knight Pinto — Mendez Ferdinando — 

19. O Still form a synonym for Truth. — Cease trying ! 

20. D You will not read the riddle, though you do the best you 

can do. 



70 SOME ACROSTIC SIGNATURES OF 

Specimen J. 

%m fotgcnben Jagc luurbe Con Seriifalcm a\x\- 
gcbrodjen Unb bcr Sin-g nad) bcr fi)rifd)cn ftiiitc ju 
^fcrbc geniad)t. f iefftc Jraiicr, ticfftcio SOiitlcib intt 
^Irbogaft'o Sdjidjol iin 4'>cr,)Cii, Ct)ne jcbod) cin ii>Dvt 
iiDer \^\\ ju fprcd)cit, SRitt bie 'Sprin^efitii nad) bent 
Giiifd}iffimgcip(al3c bat)in. 

^olbfcligcr (i'ligcl, (Srmanne S)id)! Jo liitjt 
fid) 9iid)t!j inc[)r aiibcni, iRcbctc fie ber ®raf iintcr 
Sictifofungcn in Saffa on. S"^ ttJcife cf^ crn)ibevte 
bie ^ririjcffiii aiifl"ciif,^cnb. 

The above specimen is a passage from the eighteenth chapter 
(page 183) of the Prinzessin von Portugal, which passed as the work 
of Alfred Meiszner, but which was the work of Franz Hedrich. You 
will see the words ' Autor Hedrich ' by abstracting in their proper 
order the types with a heavier face than is seen in the other types 
of the text. (See Alfred Meiszner — Franz Hedrich, von Fi-anz 
Hedrich: Berlin, 1890, pp. 132-3.) 



FRANCIS BACON 71 

Specimen K. 

This example is given, because it helps to illustrate the kind of 
learned ingenuity which was at the base of this kind of once com- 
mon intellectual amusement, and method of structural signature. 

It is verse written by some one in the olden time, and to speak 
technically it is at once acrostic, mesostic, and telestic; and in addi- 
tion to these qualities you will see that the name Jesus appears in 
the middle of the verse in the form of a cross. 

I Inter cuncta micans I gniti sidera coell I 

E Expellit tenebras E toto Phoebus ut robE E 

S Sic caecas removit lESUS caliginis umbraS S 

V Vivificansque siraul U ero praecordia motU U 

S Solem justitiae S ese probat esse beatiS S 



72 SOME ACROSTIC SIGNATURES OF 

Exx)lcmation of Sjyecimen L. 

This specimen is a sonnet of my own, Avhich I use here to show 
how easily an acrostic may be inserted in it. 

Note that in order to insert the cipher signature (the Latin abla- 
tive), Francisco Bacono, in a circular figure, that is to say, fi-om the 
initial of the first word of the last line throughout the sonnet and back 
to the initial of the first word of the last line but one, the only changes 
needed are one word in the fourth line and four words in the last 
three lines. 

The change does not make the sonnet worse tli^n it was before. 
I have taken liberties Avith this sonnet, as my regard for it is of the 
same nature as that of Touchstone for Aiidrey; and for much the 
same reasons. 'Tis a poor sonnet, sir, an ill-favoured thing, sir, but 
mine own. It was written in 1889. 

Note that it took but a few moments to make the necessary 
changes. 

A poet might have been even more expeditious. 

Begin to read on the initial F of the word ' Fate ' (first Avord on 
the last line); upwards; to the right, or to the left; on the initials; 
thi'oughout the sonnet, and back again, having spelled Francisco 
Bacono; you will arrive at the exclamation ' O ! ' (first word on the 
last line but one). 

The acrostic figure here is : — 

B O -, 



A' 


^ 






C 


/■ 








\ 


/ 








N 


C 








s 


/ 








\ 


/ 








\ 


o 

1 








I 

1 


1 

V 

N 








1 

c 

/ 


\ 








/ 


-> O 








N 


^ 


F^e 


R- 


^A' 


y 



FRANCIS BACON 



73 














13 














^ »v 










0) 








r^ 






•— iD 














. 'd 




1— 1 






bo > 










r^ 




■^ ^ 




o 




^ 


^ 


• 








Oi 


' •— J 


^ CD 

4^ 










<u B > 






r-" r- 




QJ 


CD 


=4-1 t- 




-4-> 




r-" 


=4-( ^ O 


• 

o 
xn 


i 

to 

o 


of primaeval mori 
that Ave must lead 


1— ' 

5 


8. 

O 

s 


0) 
S< 

o 

4-J 

Ct' 

O 
CB 

cc 

P 


eath, our throes o 
some little thou a 


-4^ 
« 

<D 

be 

'S 
o 

fin 

o 


g 
<D 

=4-1 


=M 

tS 

<— < 


o 

^^ 

p 
o 

cc 

,4J 


ys and sorrows ri 

,Avouldst thou thy 

Love thou, and h 


CO 




=0' o 




bo 


Si) 
p 

cc 


=4-( bo 

O H 
02 2 


=4-1 

o 

<u 
P 


bo 

3 


OI 

=4-1 

c3 


o 


^ Oi ^ 




^ 

^ 


03 -a 
OJ -^ 

-^ , ■ 

C3 ^ 


bJD 


02 

3 


CC 

+3 


bo-^ 

. « 
SI ^ 


O 

!4H 


1— 1 


O 


CD 

=4-1 

ci 


ith eart 
st thou 
Is thee 










O 

"rt 


P 




s 


o 

OJ 




"S 








^ W f^ 


O 


HH 


G ^ O O 1, ■ 

O H H fi O ^' 


^O^' 










(A. 

4) 

g 




•- 'o 




^ 

-M 






> 

To^- 












+-' cy 




O 




^ 


P ^ 










G 




"S =« 




K- 




•4-J 


?: :=! 










O 




^ , 




IT 




'~' 


CV. CC , 




J.' 


s^ ^5 




g 


c:j 
0; 


-4J 
=4H « 

o « 


Ck^- 


CU 




s 


=4-1 « a 




.§ 


2 S 




o 


PI 


5R ^ 








o 


■^ K^">: 




•§< 

o 
<» 


, -t-3 


o 


o: 


o 


p ^ 




s 

=M 

o 

P 
bo 

1—] 


=4-( 


1—) 

O 


? +3 ^ 
1 g-^ 


O 

xn 
< 


i 


SS spirit of primaev 
the life that we mi 


_!» 
S-i 

a; 


P 

o 

s 

bo 
=(-1 

=4-1 


ess jjrogress dost t 

ngs of death, our t 

change some little 


bo 
(— < 

o 

=4H 

o 
cc 

p 

1 

S 


-4^ 


p 
o 

O! 
4J 

o 

a 

m 
'3 
.■^^ 

=4H 


1 our joys and sorr 
t speak, wouldst th 
love : love thou, ar 




o; 


ou deathle 
ibodied in 


be 


OJ 

5 
o 

'a 


•It-* 

r-< 

'p 

r— 


r bitter pa: 
at by each 


o 

OI 


o 

4^ 

5 


be 
'3 


t IS Avith al 
hou coulds 
liy need is 






H W 


^ 


3 


HH 


G -c; o o i. 
O H H ft 0<5l 1 


^_; =4H ~ 



74 SOME ACROSTIC SIGNATURES OF 

Explanation of Specimen M. 

The sonnet printed on the opposite page was written by Edgar 
Allan Poe, and contains the cipher names Sarah Anna Lewis.' The 
acrostic may be deciphered by writing down the first letter of the 
first line, the second letter of the second line, the third letter of 
the third line, and so on, luitil you find yourself at the letter S at the 
end of the word ' names ' in the last line of the sonnet. 

I print this example to show how a skilful rhymer can throw a 
difficult cipher into a sonnet and still give the reader the impression 
that the lines were composed freely. 

It is well to compare the easy method of Bacon with this difficult 
method of Poe. 

The acrostic figure is : — 

Seldom 
A 
R 
A 
H 
I A 

N 

A 

L 
E 
W 
I 

Of the dear nameS 

Observe that Poe plays to the word ' names.' 

I TU Works of Edgar Allan Poe. Edited by J. H. Ingram, 1899, vol. iii, p. 24. 



FRANCIS BACON 75 

Specimen M. 

An Enigma. 

'Seldom we find,' says Solomon Don Dnnce, 

'Half an idea in the profonndest sonnet. 
Throngh all the (limsy things we see at once 

As easily as through a Naples bonnet — 

Trash of all trash! — how can a lady don it? 
Yet heavier far than your Petrarchan stuff — 
Owl-downy nonsense that the faintest puff 

TAvirls into trunk-paj)er the while you con it.' 
And, veritabl}'-, Sol is right enough. 
The general tuckermanities are arrant 
Bubbles — ephemeral and so trans])arent — 

But this is, now — you may de])cnd upon it — 
Stable, opaque, immortal — all by dint 
Of the dear names that lie concealed within't. 



70 SOME ACROSTIC SIG:NATURES OF 

Specimen JV. 

An acrostic compliment from Ben Jonson to Tom Coryat. See the 
first edition of Coryafs Crudities (1611). 

To the Right Xoble, Tom Tell-Trotli, of 
his trauailes, tlie Coryate of Odcomhe, 
and his Booke now going to 
trauell. 

T rie and trnst Roger, was the word, bnt now 

H onest Tom Tell- Troth jjuts downe Roger, How "i 

O f trauell he discom-seth so at large, 

M arry he sets it out at his owne charge; 

A nd therein (which is worth his valour too) 

S hewes he dares more then Paides Church-yard durst do. 

C ome forth thou bonnie bouncing booke then, daughter 

O f T'om of Odcomhe that odde Jouiall Author, 

R ather his sonne I should haue cal'd thee, why? 

Y es thou wert borne out of his trauelling thigh 

A s well as from his braines, and claimest thereby 

T o be his Bacclms as his Pallas: bee 

E uer his thighes Male then, and his braines Shee. 

Ben. Jonsoti. 



FEANCIS BACON 77 

SjJecimen 0. 

The Argument to Volpone. — An acrostic down the initials of the 
front. • 

V Volpone, childless, rich, feigns sick, despairs, 

O Offers his state to hopes of several heirs, 

L Lies languishing: his parasite receives 

P Presents of all, assures, deludes; then weaves 

O Other cross plots, which ope themselves, are told. 

N New tricks for safety are sought; they thrive: when bold, 

E Each tempts the other again, and all are sold. 

This acrostic is to be seen in any good edition of the Wovls of 
Ben Jonson. He made others, but this may serve to show that a 
man so contemptuous of ' puerilities ' used this form of intellectual 
exercise, or amusement, in his own plays. 



78 SOME ACROSTIC SIGNATURES OF 

Explanalion of Speciinen P. 

This is an interesting example of a verbal aci'ostic, written by 
George Herbert, and published in The Temjile, a book first issued 
at Cambridge in 16G3. Herbert was a younger son of a famous 
family; he had enjoyed the experience of a courtier, underlying 
that of a scholar, a poet, and a divine ; he was a friend of Francis 
Bacon, and it was to him that Bacon dedicated his Translation of 
Certaine Psahnes into English Verse, in 1625 : the only instance known 
until to-day wherein Francis Bacon's name is signed to verse of 
any kind. 

It is worth remembering that, if your attention Avere not directed 
to this acrostic by the typography, you would have no knowledge of 
its existence. 

The acrostic is to be read down the line of words in italics, from 
the initial of the first word of the first line, to the initial of the last 
word of the last line. 

The acrostic figure here is : — 

My 
Life 
Is 
Hid 
In 
Him 
That 
Is 
My 

Treasure. 

My life is hid in him that is my treasur'e. 



FKANCIS BACON 79 

Specimen P. 
Our Life is hid with Christ in God 

60. Colossians iii, 3. 
My words and thoughts do both express this notion, 
That Life hath with the sun a double motion. 
The first Is straight, and our diurnall friend; 
The other Hid, and doth obUquely bend. 
One Hf e is wrapt In flesh, and tends to earth : 
The other winds towards Him, whose happie birth 
Taught me to Hve here so. That still one eye 
Should aim and shoot at that which Is on high ; 
Quitting with daily labour all My pleasure, 
To gain at harvest an eternal Treasure. 

acrostic. 

My life is hid in him that is my treasure. 



80 SOME ACROSTIC SIGKATUKES OF 

Another illustration of the method employed in ' Specimens C, D, H.' 

One can perform a simple experiment to illustrate the mechanical principle 
which underlies Bacon's method of using the types. 

Let us say that there are twelve letters in the name Francis Bacon. 

Chalk two lines any number of feet apart, on the floor. Place the toe of your 
left foot on one line and step out towards the other. Take twelve steps so that 
at your twelfth step your right toe shall exactly touch the line in front of you. 
If your eyes are open you can do this as often as you like ; but with your eyes 
closed (and therefore by chance) you will be very unlikely to do it at all. 

Bacon starts out from the first letter of a definite string of types, say from 
a letter F. He steps over all intervening letters until he reaches an R, then he 
steps over all letters until he reaches an A, and so on, until he has spelled his 
name. He takes liis twelve steps so that the last letter of his name shall be the 
last letter in the definite string of types with which he is working. 

This may be done easily with the eyes open, but with the eyes shut (that is to 
say, hy chance) so rarely can it be done that mathematicians tell me the 
facts as to its rarity are so patent as not to be worth the calculation. 

Observe that I have arranged the lines and words of the above 
illustration so that you can read (by following the method there 
described) Onocab Ocsicnarf, that is, Francisco Bacono sjielled 
backwards, beginning at the initial O of the first word of the first 
line and ending on the initial F of the first word of the last line. 



FRANCIS BACON 81 

Specimen Q. 
L'Amorosa Visione. 

• By Boccaccio. 

For this specimen the reader is referred to any well equipped 
library. I must be pardoned for omitting a facsimile. The poem is 
in fifty chapters, occupies over two hundred pages, and describes a 
dream in which the poet, guided by a lady, sees heroes and lovers of 
ancient and mediaeval times. The work is remarkable because the 
whole poem of fifty chapters is an acrostic on a gigantic scale, per- 
haps the most astounding instance in literature.' 

Adolf Gaspary, in his Gescliichte der Italienischen Tiiteratur^ fol- 
lows his remarks upon the Ameto by saying; ' Aber wie in Boccac- 
cio's Geiste sich die ernsten moralischen Gedanken der vorauf- 
gegangenen Literatur umformten, sieht man noch besser in einem 
anderen allegorischen Werke, der Amorosa Visione, welche offenbar 
Dante's Comodie nachgeahmt ist. Dieses Poem, geschrieben sehr 
bald nach dem Ameto [1341 oder 1312] besteht aus 50 kui-zen 
Gesangen in Terzinen, und der Verfasser hat sich dabei die unge- 
heure Schwierigkeit auferlegt, aus dem ganzen langen Gedichte ein 
Acrostichon zu bilden; die Anfangsbuchstaben der sammtlichen 
ersten Verse der Terzinen ergeben zusammengesetzt zwei sonetti 
codati und ein sonetto doppio codato, welche die Widmung des 
Werkes an Maria Fiametta enthalten.' 

The Amorosa Visione, like the Divina Commedia, is written in 
terza rima, and the initial letters of all the trijilets throughout the 
work compose three poems of considerable length, in the first of 
which the whole is dedicated to Boccaccio's lady-love, under her 
name Maria, In addition to this, the initial letters of the first, third, 
fifth, seventh, and ninth lines of the dedicatory poem form the name 
of Maria ; so that we have here an acrostic in the second degree. 

' Girolamo Claricio, imolese, nel lo'Jl, fii il primo ad iscoprire che L'Amorosa visione del 
Boccaccio era un poema acrostico, rilevando due sonetti ed una cauzonetta dalle iniziali de' 
terzetti. Numm Enciclopedia Italiana, p. 419. 

' Berlin, 1888, vol. ii, p. 20, et seqq. ; or, Italian translation, by V. Rossi, vol. ii. Turin, 
1891, p. 18. 



82 SOME ACROSTIC SIGNATURES OF 

Explanation of Specimen JR. 

This is a fair specimen of an acrostic doubled and crossed. Only 
by special type-setting has this acrostic been made obvious. 

In the eyes of such Presbyterian and Puritan historians as Arthur 
Wilson and Sir Syraonds D'Ewes, this clever literary love-knot 
would perhaps have been classed w^ith 'lascivious toys'; in much the 
same way that each of them interpreted, from hearsay, the platonism 
and scientific theories of Francis Bacon in the obscure light of their 
own imaginations. (See Walter Begley, Bacou's Nova Resascitatio, 
vol. iii, pp. 100 to 142.) An interesting comment is made on this sub- 
ject (presumably) by Bacon himself,' in one of his notes to The 
ShephercVs Calender^ when explaining what may seem to Spenser's 
readers to be a reference to disorderly love. No man's attitude 
towards this subject could be more clearly expressed. This unpuri- 
tanical frankness itself may well have given cause for all sorts of 
foul accusations by prurient gossips, and by historians who neither 
knew Bacon nor understood his lofty culture. 

I have hung this sei'ious comment to a trivial occasion; but it will 
serve as a hint for those who wish to follow up the subject, and to 
whom a nod is as good as a wink. (See also New Ailantis: Sped- 
ding, vol. iii, pp. 152-153.) 

To return to our acrostic. Read on the initials from the upper left 
to the lower right-hand corner for the Lover's name: and from the 
lower left to the upper right-hand corner for the name of his Lass. 

The Lady who caused this woe was Mary Brandon; the Lover 
was Thomas Rivers. 

1 Presumably by Bacon himself, inasmuch as his name is signed by means of a string 
cipher in the Epistle to Gabriel Harvey, and in the General Argument to the whole Book. 
These acrostic signatures are shown in their proper place in Part II. We learn from the 
writer of these two introductory documents to The Shepherd's Calender that he also wrote 
the notes to that poem. 



FRANCIS BACON 83 

Specimen R. 
Though crost in our affections, still the flames 
Of Honour shall secure our noble Names 
Nor shall Our fate divorce our faith, Or cause 
The least Mislike of love's Diviner lawes. 

Crosses sometimes Are cures, Now let us prove 
That no strength Shall Abate the power of love : 
Honour, wit, beauty, Riches, wise men call 
Frail fortune's Badges, In true love lies all. 

Therefor to him we Yield, our Vowes shall be 
Paid Read, and written in Eternity 

That All may know when men grant no Redress, 
Much love can sweeten the imhappinesS. 



84 



SOME ACROSTIC SIGNATURES OF 



Specimen 8. 

A Runic monogrammatic cipher, used as a structural signature by 
Cynewulf, about a. d. 800. {Christ, lines 797-807.) 

ponne p) cwacaS, geh5?ret5 Cyning msCIan, 
rodera Ryhtend, sprecan repe word 
fam fe him £er in worulde wace hyrdon, 
fendan |^ ond + yfast meahtan 
frofre findan. pier sceal forht monig 
on fam wongstede werig bid^n 
hwaet him sefter diedum deman wille 
wrajira wita. "Bif se P scaecen 
eorfjan fra;twa. PI wss longe 

r flodum bilocen, lifwynna dal, 

f on foldan. 



Letters. 


Names. 


Kemble's 
Definitions 


1 


cen 


torch 


»l 


yr 


bow 


•f 


ned 


need 


[MJ 


eoh 


horse 


P 


wen (wynn) 


[hope] 


n 


ur 


bull 


r 


lagu 


water, sea 


r 


feoh 


money 



The Runes in the above verses not only serve as words with which 
the learned might complete the sense of the lines in which they fall, 
but being letters in themselves, they also spell the name of the poet. 
(See The Christ of Cynewulf, edited with introduction, notes, and 
glossary, by Albert S. Cook, Boston : Ginn & Company, 1900, pp. 30, 
31, 151-157.) 



FKAIS^CIS BACO:Nr 85 

Specimen T. 

Oba fh tliero buacho guati hiar iauuiht missikerti, 

gikriimpti thera reclino, thero quit ther euangeliO: 
Thuruh kristes kriizi bimide ih hiar thaz iiufzi, 

thiiruh sina giburt; es ist mir, driihtin, thanne thiirfT. 
Firdilo hiar thio dati, ioh, driihtin, mih gileiti, 

thaz ih ni niangolo thes drof in himilriches frithoF. 
Rihti pedi mine, thar sin thie driita thine, 

ioh minaz miiat gifreuui mir in eimon, driihtin, mit thiR. 
In himilriches sconi diia mir thaz gizami, 

ioh mih io tharauuisi, thoh ih es uuirdig ni si. 
Driihtin, diiaz thuruh thih, firdanan uueiz ih filu mih, 

thin gibot ih ofto meid, bi thin thiilta ih thrato manag leiD. 
Viieiz ih thaz giuuisso, thaz ih thes uuirthig iiuas ouh so, 

thiu uuerk firdilo minu ginada, druhtin, thinU 
Sario mi giuuaro thaz ih thir thi'ono zioro 

ellii itir innan thes ioh daga mines libeS. 
Vuanta unser lib seal uuesan thaz, uuir thionost duen 16 thinaz, 

thaz hiiggen thera uuiinnu mit kristes selbes minnV 
Yuola sies 16 giniizzun, thie uuillen sines fli'zziin, 

ioh si'nt sie nu mit redinii in himilriches freuuidV, 
In himiles gikamare mit mi'hilemo gamane, 

mit mihileru liubi, thes iiuortes mir giloubl 
Zi hellu sint gifiarit ioh thie andere gikerit, 

thar thultent beh filu heiz, so ih iz alles uuio ni uueiZ. 
Alia luiorolt zeli dii al, so man in biiachon seal, 

thiz fiiidistu ana duala, thaz sagen ih thir in iiuarA. 
Nim gouma in alathrati, uuio abel dati, 

iiuior hiigu rihta siiian in selb dnihtinaN. 
etc. etc. etc. 

This example shows an acrostic on the terminal letters of alternate 
lines of type. That is to say, on the initial letter of the first line, and 
on the end letter of the second line, and so on. The complete read- 
ing of the acrostic, which is the same at both ends of the lines 
runs : — 

OTFRIDUS UUIZANBirRGENSIS MONACHUS HARTMUATE ET 
UUERDSTBERTO SANCTI GALL! MONASTERII MONACIIIS 

The poem in which it appears is Ad Monachos St. Galli, and is to 
be seen in Otfrid's Evangelienhuch (about A. D. 868). See Otfrids 
von Weissenhurg Evangelienhi(ch : Text und Einleitung, von Dr 
Johann Kelle. Regensburg, 1856; or later editions. 

I have given enough of the verse to show the form of the acrostic, 
and the structural signature. 



86 SOME ACROSTIC SIGNATURES OF 

Specimen U. 
Showing the structural signature of Ormin, or Orrm. 

Ormuhim:' Dedication, lines 322-325. (Twelfth Century.) 
Ice I'att tis Ennglissh hafe sett 
Englisshe menu to lare, 
Ice wass j'aer I'aer I crisstnedd wass 
Orrmin bi name nemmnedd 

Ormulum, lines 1 and 2. 

piss boc iss nemmnedd Orrmnlum 
Fon'l'i I'att Orrm itt wi-ohhte, 

Specimen V. 
Showing the structural signature of Crestien de Troyes. 
Yvain,- the last paragraph. (Twelfth Century.) 
Del chevalier au liox fine 
Crestiiens son romanz einsi ; 
Ou'onques plus conter n'an oi, 
Ne ja plus n'an orroiz conter, 
S'an n'i viaut man^onge ajoster. 

Specimen W. 
Showing the structural signature of Marie de France. 
Guigemar:^ the prologue. (Twelfth Century.) 
Ki de bone matire traite, 
mult li peise, se bien n'est faite. 
Oez, seignur, que dit Marie, 
ki en sun tens pas ne s'oblie. 

' The Ormulum. (Jun. MS. I. Bodleian Lib.) ; edited by R. M. White, 2 vols., Oxford, 
1852. 

» Kristian von Troyes: Yvain (written about 1175). See edition by Wendelin Foerster: 
Halle, 1902. 

• See Prologue to Guigemar, in Die Lais der Marie de France, edited by Karl Warnke, 2d 
edition, Halle, 1900, p. 5. 



FEANCIS BACOX 87 

SiiNDRY Analogous Specimens. 

There are a few other analogous forms of this use of letters 
which may be of interest as showing the antiquity and the prevalence 
of it. The Greeks composed lipogrammatic works, in which one letter 
of the alphabet is omitted. A lipogrammatist is a letter-dropper. In 
this manner Tryphiodorus wrote his Odyssey. He had not an ' a ' in 
his first book, nor 'b' in his second; and so on with the subsequent 
letters, one after another. This Odyssey was in imitation of the lipo- 
grammatic Iliad of Xestor. Athenaeus mentions an Ode by Pindar, 
in which he had purposely omitted the letter ' s.' There is in Latin a 
prose work by Fulgentius, which is divided by him into twenty-three 
chapters, according to the order of the letters of the alphabet (Latin). 
From 'a' to 'o' are still remaining. The first chapter is without 'a' ; 
the second without ' b ' ; the third without ' c ' ; and so on with the 
rest. There are five prose novels that have sometimes been attrib- 
uted to Lope de Vega: the first without 'a,' the second without 'e,' 
the third without 'i,' and so on through the list of vowels.^ 

In the Ecloga de Calvis, by Hugbald the monk, every word begins 
with a 'c' In the Pugna Porcoruvi all the words begin with a 'p'; 
and in the Canum cum cattis cei-tamen, printed in the same work 
{N'agae Venules), all the words begin with a 'c' Gregorio Leti pre- 
sented a discourse to the Academy of the Humourists at Rome, 
throughout which he had purposely omitted the letter 'r.' 

Lord North, in the Court of James I, wrote a set of sonnets, each 
of which begins with a successive letter of the alphabet. The Earl of 
Rivers, in the reign of Edward IV, translated the Moved Proverbs 
of Cristina of Pisa, a poem of about two hundred lines, most of which 
he contrived to conclude with the letter ' e.' 

Other wits, the author of The Arte of English Poesie among them, 
composed verses in the form of pillars, roundels, hearts, wings, altars, 
and true-love knots. Tom Nash ridiculed Gabriel Harvey for this 
practice, and Ben Jonson satirically described their grotesque shapes 
as: — 

*A pair of scissors and a comb in verse.' 

' I am indebted to my friend Professor F. De Haan for the following title : — Varios effectos 
de amor en cinco novelas exemplares y nuevo arlijicio de escriuir prosas, y versos, sin una de las 
cinco letras Vocales, excluyendo Vocal differenle en cada Nouela. A utor Alonso de Alcala y Her- 
rera. En Lisboa, Manuel de Sylva, I64I [from Salva, Catalogo de la Biblioteca de Salva, 
Valencia, 1872, 2 vols ; vol. ii, No. 2015]. 



88 SOME ACROSTIC SIGNATURES OF 

A different conceit regulated Chronograms, which were used to 
show dates. The numeral letters, in whatever part of the word they 
stood, were distinguished from other letters by being written in capi- 
tals. In the following chronogram : — 

. . . feriam sidera vertice, 

by the elevation of capitals this line is made to give the year of our 
Lord thus : — 

. . . feriaM siDera Vertice; 
i.e.MD VI 

The initial letters of Acrostics are thus alluded to by Richard 
Owen Cambridge, in TJie Scribleriad: — 

Firm and compact, in three fair columns wove, 
O'er the smooth plain, the bold acrostics move; 
High o'er the rest the Towering Leaders rise 
AVith limbs gigantic, and superior size. 

A feat more difficult than that of inventing acrostics is that of 
reciprocal verses, which give the same words whether backwards or 
forwards. The following lines are attributed to Sidonius Apolli- 
naris : — 

Signa te signa temere me tangis et angis. 
Roma tibi subito motibus ibit amor.' 

* This example and those on tlie previous page I have culled from Disraeli's Curiosities of 
Literature, and from Walsh's Handy-Book of Literary Curiosities. 



FRANCIS BACON 89 

Sjyecimen X. 

I have reserved to the last this specimen which is pecuHarly sug- 
gestive to us. 

The Ilyjmerotomachia PolvpMU was published anonymously in 
1199, in Venice. It professes to relate its author's love for Polia, a 
nun, his search after her, and their union, at the clbse of sundry trials 
and adventures, in the realm of Venus. The story is a dream or 
reverie, and represents the epoch of transition from the Middle Age 
to the Renaissance, in its fourfold intellectual craving after the beauty 
of antiquity, the treasures of erudition, the multiplied delights of art, 
and the liberty of nature.^ 

Long after the publication of the book its author's name was dis- 
covered. It had been hidden by the very sim25le device of using the 
initial letter of each chapter throughout the book, so that when the 
initials were written down consecutively, they disclosed the sentence 
Poliamf rater Franciscns Columna peramavit — Brother Francesco 
Colonna passionately loved Polia. Colonna was a Dominican monk 
and the last words of the first edition of his Avork show that it was 
written at Treviso in 1467. It is not difficult to surmise his reason 
for concealing his name. 

This device of Colonna's is important to us, for it contains the 
principle which imderlies the formation of a string cipher, and at the 
same time illustrates the use of a string of letters as a means of 
identification. 

^ See Renaissance in Italy, by J. A. Symonds, vol. iv, pp. 189-206 ; 1904. 



PART II 

SIGNATUEES OF FEANOIS AND AE^THONY BACOX 

WHICH APPEARED IN WORKS ORIGINALLY PUBLISHED ANONY- 
MOUSLY, OR OVER THE NAMES OF OTHER MEN, TO- 
GETHER WITH A FEW NAMES WHICH HAVE 
BEEN FOUND WOVEN INTO SOME 
OCCASIONAL VERSE OF ELIZA- 
BETHAN AND JACOBEAN 
TIMES 



Note. — The facsimiles are reproduced approximately the same size as the 
originals, except in the case of the Folios, where a considerable reduction in size 
was necessary. 

A comparison of the facsimiles with the originals from which they were taken 
will in a few cases show that the white background has been cleaned, and that 
one or two blots have been removed, so that the reader unaccustomed to old 
books and old typography may be able to see the letters without unnecessary 
obstruction. Where a letter has been so broken as to be doubtful, I have allowed 
it to stand, and have referred to another edition where it may be seen in good 
condition. 

Where the original was too faded to be reproduced by photography, I have 
either strengthened the negative, or darkened the original. When the latter 
action has been necessary I have done it myself. 



94 



SOME ACROSTIC SIGNATUEES OF 



THE ARTE 

OF ENGLISH 

P O E S I E. 

Contrlucd into three Bookes : Thefirft of Poets 
and Pocfie, the fecond of Proportion, 
the third of Ornament. 




AT LONDON 

Ffinted by Richard Field^ dwelling in the 

black-Friers, neereLudgate, 



FRANCIS BACON 



^ colel 




Qhefe flejja rafiomiglia^ 
O* no?i altrui. 



( The Arte of English Poesie — Its Frontispiece) 



96 SOME ACROSTIC SIGNATURES OF 



CHAPTER VI 

THE AETE OF ENGLISH POESIE—TIIE PARTHENIADES 

Signature 1 {The Arte of English Poesie). 

This is a particularly interesting example, because of its bearing 
on the authorship of a famous book, The Arte of English Poesie, 
which was pul)lished anonymously in 1589. A few comments about 
the book Avill be found on page 120. 

Kote that the dedication opens with a signature R. F. in the third 
person, and closes with the same signature R. F. in the first person. 
These initials ostensibly stand for those of the printer, Richard Field; 
but they are also made to serve another purpose. (See pp. 99-100.) 

I frame the facsimiles from The Arte of English Poesie, to direct 
the reader with arrow-heads. In the rest of the book the reader will 
be left to his own skill in following my directions. I advise each 
reader to mark his own copy when he checks my work. 

Begin to read on the initial F in the first initial-signature ' R. F.' ; 
to the left; downAvards; taking the next initial R; then the next 
initial A; then the next initial U (or V); and so on; on the initials 
of the words; spelling Fkavncis Bacon, you will have arrived at 
the initial N of the word ' not,' which is followed by the word 
' scypher ' and then by the words ' her Maiesties honour.' The 
cipherer has thus approached ' her Majesti/s honour.'' He then 
makes his exit backwards, in the fashion of the courtier: so you 
will continue to read from the initial N of the word ' not,' where we 
left off, and spell hacTiwards : to the left on the initials as before; 
downwards ; until you have come to the initial F of the last initial- 
signature ' R. F.,' having spelled Nocab Sicnvaefp, ' a device of 
some novelty.' 



The acrostic figure here is : — 



FRANCIS BACON 97 

F 



V 

C 
I 

s 

B 
A 
C 

O 

Not scypher her Maiesties honour 
O 
C 
A 
B 
S 
I 

c 

N 
V 
A 
R 

From the Black-friers, etc. 
F (R. F.) 

Note that the name is spelled Fravnds clown to the ' not,' and 
ffravncis as it runs out. 



98 SOME ACROSTIC SIGNATURES OF 

Signature 2 ( The Arte of English Poesie). 

Now, again turn to the first page of this dedication, and note the 
cipher, or, if you Hke, the capital O in the uppermost Hue at the right- 
hand corner of the page. (See pp. 99-100.) 

Disregard the arrow-marks which I made to help in reading the 
previous name. 

Treat the lines of words, now, as if they were lines of letters on a 
string. Begin to read from the cipher O, in the corner; to the left; 
taking the next N; then the next O; then the next C; and so on, 
until you have si^elled the Latin ablative backwards Onocab (i. e. 
Bacono). You will have arrived at the initial B of the word ' Booke.' 
This signature is keyed if you begin again from the same cipher O 
at the upper right-hand corner, and read all the letters to the I'ight, 
but skipping the bracketed words '(right Honorable).' You will ar- 
rive at the same initial B of the same word ' Booke.' 

The acrostic figure here is : — 

Right HonO 
O 

c 

A 

rpHis Booke 

To wit: This Booke by Bacon. 

I regard this as a weak signature, since, in order to key it, we had 
to leave out the two bracketed words '(right Honorable).' But it is 
sufficiently remarkable to warrant its inclusion. 



FRANCIS BACON 



99 




— > 



TO THE RIGHT HONO 

RABLE SIR WILLIAM CECILL 
KNIGHT, LORD OF BVRGHLEY, LORD 

HIGH TREASVRER OF ENGLAND, R. F. 
Printer wiHicth health and profperitie,witIi 
thccommandement and yCc of his 
continuall femice. 

Hii Booke {right Honor able) comming 

to my handes , wtth his bare title vnithout urn 
Authours name or any other ordinarte ad- 
drejfe,! doubted how wellit might become me 
to make you aprefent thereof, feeming by ma- 
ny exprejppajfagefif} thefimeat large , that 
- - - ,,~,it 'WAS by the <iyittthour intended to our Soue- 
'ff^f\i/&^'-:^~^^y^gfjg Lady the ^ueene/ind for her recrea- 
tion and jeruice chiefly deutfed, inyvhich cafe t o make any other per fon 
her highnes par tetter m the honour ofhisgmft it couldnot fladrvith my 
dutie y nor be without fame preiudice to her Adaufittt interefl and his 
merrite . Perceyuing befdes the title to purport fo JUtider a/ubte£t, 
as nothing almofi could be more difcrepant from thegrauitie of jour 
yeeres and Honorable funSlion, tvhofe contemplations are euerj houre 
morefertouflyemployedvponthepublicke adminifiritton and feruicesx 
1 thought it no condtgne Ratification , nor fear ce any good fatiifaElion 
forfuch a per fon as you . Tet when 1 confdeVei}, that befiowyng vpon 
your Lordfhip the firft vewe of this mine impreffion (a feat of mine 
owne fi mple facultie ) it could not fcypher her AlaieUies honour or 




prerogatiue in theguift,nor yet the iAuthour of his thanks : and fee- 
ing the thing it felfe to be ^deuice offome noueltte (which commonly 

<iyl B lij 



<— 
<— 

:«- 
<— 



( The Arte of Englhh Poesie — The Dedication) 



100 



SOME ACROSTIC SIGNATURES OF 



— > 



THE EPISTLE DEDICATORIE. 

fiueti fuery good thing a Jfecuilh^race ) anic. tioHcltie fo highly ten' 

Jitftr TV the mojl worthjfrajfis of her Maieilus mcft excellent name 

{£arer to you 1 dare conceme them atrj/ worldly thing tcfdes) mee 

thought I could not deuife to haue frefented your Lordjktp any gift 

thore nirreeable to your appetite , or fitter for rry 'jocatton andahilitie 

to yefiow^your Lordynp keyr.^ learned^nd a loner oflear>:ir.g,mypre- 

fent a Bookeand mjjelfe a printer alrvaies ready and iefirom to 

he at your HonoHrahle com>naur.dement . And thus I 

humbly take my leaue from the BUck^fhtfrs^this 

xxviij. of May. i J 8 9. 



Your Honours moft humble 
at commaundement. 



%,F, 




<— 



( Tf^e Arte of English Poesie — Dedication continued) 



FEANCIS BACON 101 

Signature 3 ( The Arte of English Poesie). 

This acrostic is foiuid on pages 81 and 82 of The Arte of Eng- 
lish Poesie. (See also in Arber's Edition, pp. Ill and 112.) It is a 
roundel], a geometrical figure, doggerel because it is necessary to 
cramp the composition into the figure, which the author describes 
thus : — 

' This figure hath three principal partes in his nature and vse much 
considerable: the circle, the beame, and the center. The circle is his 
largest compasse or circumference: tlie center is his middle and indi- 
uisible point : the beame is a line stretching directly from the circle 
to the center, and contrariwise fi'om the center to the circle.' 

The signature in this example runs from the end of each of 
two beams, on the initials of the words of the poem, to an identical 
centre. (See pp. 103-04.) 

Begin to read on the initial O of the word ' one,' at the right-hand 
end of the first line of the poem; to the left or to the right; down- 
wards ; on the initials of the words ; sjielling backwards Onocab, you 
will arrive at the initial B of the word ' be ' in the line : — 

' And though he be, still tui'nde and tost.' 

Now begin again on the initial O of the word ' one' at the right- 
hand end of the last line of the poem; and read to the left; upwards; 
on the initials of the words; spelling Onocab, you will again arrive 
at the initial B of the same word ' be ' as before : thus keying the 
cipher, from ends to centre. 

The acrostic figure here is : — 

One 
O 

c 

A 

Be, still turnde and tost, 
A 
C 
O 

One 
Bacono, i. e, ' By Bacon.' 



102 SOME ACROSTIC SIGIS^ATURES OF 

Signature 4 ( The Ai-te of English Poesie). 

This acrostic also is found in The Arte of English Poesie, on 
pages 82 and 83 (Arber's Edition, pp. 112 and 113). It is another 
specimen of tlie roundell, and the signature runs from the end of 
each beam until it reaches a common letter in the centre. 

Note that the initial of the first word of the first line is F, and 
that the initial of the first word of the last line is B. (See pages 
104-5.) 

Begin to read from the initial F of the first word of the first line ; to 
the right; on the terminals of the words; downwards; sj^elling Fran- 
cisco, you will arrive at the terminal O of the word ' to ' (5th line, 
p. 83). 

Begin to read from the initial B of the first word of the last line 
of the poem; to the right; upwards; on the terminals; spelling 
Bacono, you will again arrive at the same terminal O of the word 
' to ' (5th line, p. 83). 

The acrostic figure here is : — 

First her authoritie regall 
R 
A 
N 
C 
I 

s 
c 

to himselfe. 
N 
O 

c 

A 

Beame, circle, centre of all my round. 



FKANCIS BACOK 103 



OF PROPORTION LIB. ir. Sx 

The RoMTtdell or Sfheare. 
The mofl excellent of all thefigurcs Geometrical is theround 
forhis innny perfe<f>ions. Firft becaufe he is euen & fmooth,with- 
out any angle,or interrupt ion,moft voluble and apt to tui ne , and 
tp continue motion, which is the author of life : he contcy ncth in 
him the comm'odious dcfcription of euery other figure , & forhis 
ample capacitie doth refemblc the world or vniuers, 5c for his in- 
definiteiiefTe hauing no fpeciall place of beginning nor end , bea- 
rcthafimilitudewithGodandeternitie. This figure hath three 
principall partes in his nature and vfcmuch confiderable : thecir- 
clcjtlie beaine,and the center. The circle is his largeft compafle or 
circumference : the center is his middle and indiuifible point : the 
beamc is a line ftrctching dircflly from the circle to the center, & 
contrariwife fromthecenter to the circle .^By this description our 
maker may fifhion his meetre in Roundel,?ither with the circum- 
fercncc^and that is circlewi{c,or from the circufcrence, that is, like 
a bcamcjor by the ciicumferencc,and that is ouerthwart and dya- 
inctrally from one fide of the circle to the other. 

A gcmrallrefcmbl.ince of the %oundellto God^he world 
and the £lueene. 



All andrcho/e.iinA euer.and one^ 



— ^ £». Single, (tmple^eche where, alonty 

Thefe be counted as Clerkes can tell, ^ 

— > Triieproferties,njthe%oundelL 

HtsflilltHrnmghfconfecjuence ^ 

— > Andchange^e breede both life And fence. 

Time,r/;eafure offiirre a»drefl, ^— 
— > // alfi by his courfc exprejt. 

How fwift the circle jltrre aboue, ^ — 
— > His center point doeth nette r moue : 

Allthtugs that etter were or be, ^ — 
— ^ Are clofde in his concamtie. 

And t hough he be, (Itllturnde andtofi^ •^ — 

No roome there wants nor none is lo^. ^ — 
— ^ The RoHndellhath no bonch or anglg, 

fVhich may hts conrfe fl aj or entangle. 
— > Thefurtheji part of all his Jpheare, 

N >y 



( TTie Arte of English Poesie) 



104 SOME ACROSTIC SIGNATURES OF 



8» OF PROPORTION. LIB. tl. 

Is ecjuallj hothfarre 4wd neare. 4 — > 
— > So doth none other figure fare 

where natures chattels clofid are: < — 
• — ^ tyini hey and his rvide compajfe^ 

There ts no body nor ns place, 4 

— ^ Nor any vctt that comprehends, 

lyhere it beftnSyOr where it ends i 4 

^ j4nd therefore allmen doe agree, 

That it purports etermtte; -< — 
— ^ Cod ah one the heauensfo hie 

IsthisRoundelifinworldtheskie, ^ — 
— ^ ypo>i earth p)e,vcho beares the bell 

Ofmaydesand^ltiernesfsthis%oundell: < — 
— ^ ^/l and ffhole and euer alone, 

SingUyflins peerc,fimplr,andone. < — 

A fpeciall and particular refemblanccof her Maicftic 
tothcRoundcll, 

— > IT^Irfi her author/tie rega/l 

JT Is the circle compaffmg all: 
-^ The dominion great and Urge 

which Godhath geuento her charge: 
— > Within which mofl ipatiom bound 

She emiirons her people round, 
— ^ Retaining them by oth and Itegeance. 

Within the pale of true obejfance: ■^ — 

— ^ Ho/ding imparked as tt were. 

Her people like to heards of deer e, ( 

— ^ Sittmgctmongthcminthemidhes 

Where foe allowes andbannes andbtds < — 
— > In whatfafhion /?;<? lifi and when^ 

The feruicesofallhermcn. < — 

— > Out of her breafl at from im eye, 

Iffuetherayesince^fantli < 

— > Of her iuflicejbountte andmight 

Spreading abroad their beames f(thr}ghtf ^ 

— ^ a/ind reflet not ^ ill they attainc 

The 



( The Arte of English Poesie) 



FEANCIS BAC0:N^ 105 



OP PROPORTION LIB. a 

ThefantejhpartcfherdomMnt, ^ — 

— ^ yindmukes echeJubieEl (kareljfitf 

fVhathe is boundenfor to be ^ — 

— ^ To Godhii'Prmceaftdcommonweaith^ 

His neighbour }^edand'tohtmfelfie, 4^ 

— > Theptmecetftreandmiddlep-kkey 

whereto our decdes are drellfo thicket < — 
— > From all the parts and oHtmofijide 

Of her Monarchie Urge and wtde, ^ — 
— ^ Jilfofro whewe re fie El thefe rajes^ 

Twerttie hundred maner of w ayes ^ — 
^-> where her will is them to conuej 

IVithtn the circle of her furucy. ^ 

— ^ So is the ^lueen&cf Briton ground, 

Beame, circle ^center ofallmj round, ^ — 

Ofthefejuare or quadrangle equtloier. 

The (quarc i s ofall other accomptcd the figure of moft fiill idi- 
tieand ftedfaftncde , and for hts ownc ftay and firniitie rcquirah 
none other ba(e thenhimfelfe, and therefore as the roundcll or 
Sphcarc is appropriat to the heauens , the Spire to the element of 
thcfire:the Triangle to the ayre, and the Lozange to the water: 
(bis the fquarc for his inconcuflable fteadinelTc likened to the 
earth , which pcrchaunce might be the reafon that the Prince of 
Philofophcrs in his firft bookc of the Ethickj , tcrmeth a conftanc 
minded man, euen egal and direft on all fides^and not eafily oucr- 
throwneby euery litle aduerfitic,Aowi«wf«<«</rrff«,a fcjuare man. 
Into this figure may yc reduce your ditties by vfing no moe verfcs 
then your verfe is of fiUabics , which will make him fall out 
(quarCjif yc go aboue it wil grow into the figure 7"v<ipc/(»«,which 
is fome portion longer then fquarc . I neede not giue you any cx- 
amplc.bycaufe m good arte a) 1 your ditties , Odes & Epigrammes 
fhould keepc & not eXceede the nomber of tvvelue verfes , and the 
longcft verie to be of Cweluc fijlables 6c not aboue, but vndcr that 
number as much as yc will. 

The figure OuaB. 

This figure taketh his name of an egg^atid alfo as tt is thougtt 



( The Arte of English Poesie) 



106 SOME ACROSTIC SIGNATUEES OF 

Signature 5. 

This acrostic is found in ' Tlie Conclusion ' to The Arte of Eng- 
lish Poesie} (See pp. 111-12.) 

Observe that it is made on the terminals of all woi'ds. 

Begin to read on the terminal N of the word ' an ' at the end of 
the first line; to the left; downwards; on the terminals of all the 
words ;^ spelling Nocab Sicnakff, you will arrive at the initial, or 
front terminal, F, of the word ' for ' (8th line from top of last page). 

Begin again to read from the terminal N of the word ' can,' which 
is the last word of the conclusion; to the left; upwards; on the ter- 
minals of all the words ; spelling IS^ocab Sicnaeff, you will again 
arrive at the initial F of the same word ' for ' in the 8th line from the 
top of the last page. 

The acrostic figure here is: — 

And with this ... I make aN (end). 

O 
C 
A 
B 
S 
I 
C 
N 
A 
R 
F 
fit For any seruice of, etc. 
F 
R 
A 

C 
I 

s 

B 
A 
C 
O 

of those seruices I caN 

^ Observe the wrong numbering of the last page. 
° Parts of words are not here used as full words. 



FRANCIS BACON 107 

Signature 6. 

Here is still another acrostic in ' The Conclusion ' to The Arte of 
English Poesie. (See pp. 111-12.) 

Observe that this is also on the terminals of the words. 

Begin to read from the terminal N of the word ' Conclusion ' ; to 
the left; downwards; on the terminals of all the words; spelling 
NocAB SiCNVAKF, you will ari'ive at the terminal F of the word 
' of ' (8th line from top of the last page). 

Begin again to read from the terminal N of the word ' can,' which 
is the last word of the 'Conclusion'; to the left; upwards; on the 
terminals of the words; spelling Nocab Sicnvarf, you will again 
arrive at the terminal F of the word ' of ' in the 8th Une from the top 
of the last page. 

The acrostic jBgure here is : — • 

The ConclusioN 
O 

c 

A 

B 

S 
I 

c 

N 
V 
A 

R 

fit for any seruice oF greater importance, etc. 
R 
A 
V 
N 
C 
I 

s 

B 
A 

C 
O 

of those seruices I caN. 



108 SOME ACROSTIC SIGNATURES OF 

Signature 7. 

It is worth noting that if you begin to read from the initial O of 
the word ' of ' at the beginning of the last hne of ' The Conclusion ' of 
The Arte of English Poesie; to the right; upwards; on the terminals 
of all the words; spelling Onocab Ocsicnakf (Francisco Bacono), 
you will again arrive at the same terminal F of the word ' of ' in the 
8th hne from the top of the last page. (See pp. 111-12.) 

The acrostic figure here is : — 

fit for any seruice oF greater importance 

RR 

A A 



N 


V 




C 


N 




I 


C 




s 


I 




c 

o 




S 


B 




B 


A 




A 


C 




C 


o 




o 


Of those seruices 


I caN 



It is interesting to compare this pyramidal form of acrostic with 
the similar form of that found in the Sonnets. (1, 2, and 3.) 



FRANCIS BACON 109 

Signature 8. 
It has been pointed out to me by my friend W. L. Stoddard that 

if the large initial Jl\. at the beginning of the first line of ' The 
Conclusion ' of The Arte of English Poesie be treated as a blind, and 

if you begin to read on the capital N which follows that large a\^\ 
to the right; downwards; on the terminals of all the words; spelling 
NooAB SiCNVARF, you will arrive at the terminal F of the word 
'of (8th line from toj) of the last page). (See pp. 111-12.) 
The acrostic figure will be: — 



A^ 



.N 

C 
A 
B 

S ' 
I 

c 

N 
V 
A 
R 

fit for any seruice oF 



110 SOME ACROSTIC SIGXATURES OF 

Four of these acrostics mav be shown in one ti£;ure. tluis:- 



4Xd with this ... I make 
J\. 


aX 
O 


c c 




A A 




B B 




s s 




1 1 




c c 




X X 




A A' 




R A 




F R 




fit For anv seruice oF o^eater importance, etc, 


F ■ R 




R A 




A X 




X C 




C I 




SI 




C S 




O B 




1^ A 




A (. 
C '^ 




O 
X 


O 


Of those seruices I 


caX 



(See ' The Conclusion ' to The Arte of Mtglish Poesie on the opposite page) 



FEAXCIS BACOX 111 

OP ORNAMENT. LIB. III. ijy 

•which the Po«t fpcakes or rcporrs of another mans tale or do'azs, 
as Homer oi Priar.M,s or Vltjjes, he is as tl;e painter or keruer that 
worke by imitation and reprcfentation in a forrein (iibieftjin tliat 
he fpcakes figuratiuely, or argues fubtilhc,or pcrf%vadcs copiocfly 
and vchancntly , he doth as the cvmning gardincr that vnng na- 
ture as a coadiutor,fiirdcrs her concluiions & many times makes 
ha cffcrtcs more abfolute and ftraungc . But for that in cur ma- 
ker or Poet, which rcftes onely m deuifeand iflucsfrom an excel- 
lent lliarpc and quick inucntion , holpco by aclcare and bright 
phantafie and imagination Jie is not as the painter to couJitexfaite 
the naturall by the hke efFeds and not the fame , nor as the gardi- 
ner aiding nature to worke both the Hime and thelike, nor as die 
Orpenter to worke cf&ftcs vtterly vnLke^atcucn as nature h<r 
felfcworking by her ownc pecuhar vertne and proper inUmft 
and not by example or meditation or exercifc as all other artifi- 
cers do.is then inoft admired when he is molt naturall and leaft 
artiiiciall. And in thefeates of his language and vtterance,bccaufc 
they hold af,vell of nature to befuggefted and vttered as by arte 
to be polirhed and reformed . Therefore ftiall our Poet receaue 
prayfe for both,buf more by knowing of his arte then by vnfeafb- 
nab!e vfing it,and be more commended for hisruturaU eloquence 
then for his 3rtiiiciall,and more for his artificiall well defembled, 
then for the fame ouermuch affefted and grolTely or vndiicretly 
bewr3yed;as many makers and Oratours do. 



I' he Qonclufm^ 






Nd with this (my moft gratious foucraigne Lady)I make an 
^end , humbly bcfecching your pardon , m that 1 haue prefu- 
med to hold your cares fo long annoyed with a tedious trifle.fo as 
vnleffe it proccedcmore of your owne Princely and naturall man- 
fuetiide then of my raerite,! fcarc greatly leaft you may thinck of 
me as the Philofopher Plato did oi Anker is an inhabitant of the 
Citie Cirene , who being in troth a verj-aitiuc and artificiall man 
in driuing of a Princes Charriotor Coche(as your Maieftie might 
be)and knowing it himfelfe well enough, comming one day into 
PLatos fchoolc, and hauing heard him largely difpute in matters 

LI iij 



( The Arte of Engluh Poeaie — The Conclusion) 



112 



SOME ACROSTIC SIGNATURES OF 



sf OF ORNAMENT. LIB. 111. 

Pliilofophicall , I pray you ( quoth he ) gcuc me Icauc alfo to (ay 
(btnewhat of mync arte, and in deede Hiewed Co many thckes of 
his cunning how to lanchc forth and (lay, and chaungepace, 
andturnc and winde his Gache , this way and that way , vphill 
downe Iiill, and alfo in eucn or rough ground , that he made the 
whole artcmbhc wonder at him. Quoth Plato bcmg a graue pcr- 
fonagcverelyin mync opinion this man fliould Be vrterly vn- 
- fit for any feruice of greater importance then to driuc a Cochc . It 
is great pitie that Co prettic a fellow , had not occupied his brayncs 
in ftudies of more confequence . Now I pray God it be not 
thought (b of me indelcribing thetoyes of this our vulgar art. 
But when Iconfider how euery thing hath his cftimation byo- 
portunitic , and that it was but the (hidie of my yongcr yearcs in 
which vanitie raigncd . Alfo that I write to the plcamre of a La- 
dy and a moft gratious Queene , and neither to Pricftes nor to 
Prophetes or Philofophers . Befides finding by expcrience,that 
many times idleneflc is lefle harmchill then vnprofilablc occupa- 
tion,daylv feeing how thefe great afpiringmynds and ambitious 
heads oi the world ferioudy fearching to deale in matters of (tatc, 
be often times fo bufie and earned that they were better be vnoc- 
cupied.and peraduenture altogether idle , 1 prefume fo much vp- 
on yourMaieftics moft mildc and gracious iudgement howfoc« 
ucr you concciue of mync abilitie to any better or greater feruice, 
that yet in this attempt ye wil allow of my loyall and good intent 
alwayes cndeuouring to do your Maieftic thebeftandgrcatcft 
of thofc fcruices I can. , 




FRA:NXIS bacon 113 



Note 

The Partheniades which follow this page are reprinted from the 
edition of them which is jirinted by Haslewood with The Arte of 
English Pocsie (1811). So far as I know, there is no earlier 2)rinted 
edition than that given in the second volume of the Progresses (1788). 
Haslewood says that he collated his edition with the Cotton MS. 



114 SOME ACROSTIC SIGNATURES OF 

Signature 9 [The Partheniades). 

This acrostic is to be found in the oiDening verse of The Parthen- 
iades. The author quotes some of these poems in The Arte of Eng- 
lish Poesie, and there alhides to the seventh as his own.' 

The last two hues of this Partheniade contain an amusingly open 
hint to the decipherer. 

We frame the verse with arrow-marks, and regard the initials 
of the last word of the last line, and the last line but one, as afford- 
ing us the clue for which we are looking (N and B of the words 
' name' and ' blame '). 

Begin to read on the initial B of the word ' blame ' ; to the left ; ui> 
wards ; on the initials of the words of the poem; to the top of the poem 
and back; having spelled Bacon, you will find yourself at the 
initial JSf of the word ' name,' thus keying the cipher from the initial 
of the last word of the last line but one to the initial of the last 
word of the last line. 

Note that there is but one initial N in this whole poem. 

The acrostic figure here is: — 



/ 


^A 


/ 


\ 


1 


\ 


\ 


\ 


I 


\ 


\ 


1 


o 


Blame 


\ 


Name 



' The Arte of English Poesie, Arber's Edition, p. 251. 



FRANCIS BACON 115 

The Pai'theniades. 

The Principal! Addresse in nature of a New Yeares Gifte; seem- 

inge therebye the Anthor intended not to have his Name 

knowne. 

Parthe; I. Thaleia. 
Gracious Princesse, where Princes are in place, ♦- 
— > To geue you gold, and plate, and perles of price 
It seemeth this day, saue your royall advice ^ 
-^ Paper presentes should haue but little grace; 

But sithe the tyme so aptly serues the case, <— 

— ► And as some thinke, youre Highnes takes delighte 
Oft to pervse the styles of other men, *- 

— » And oft youre self, w'^ Ladye Sapphoe's pen, 

In sweet measures of poesye t'endite <— 

-^ The rare affectes of your hevenly sprighte; 

Well hopes my Muse to skape all manner blame, <— 
-^ Vttringe your honours to hyde her owner's name 



116 SOME ACROSTIC SIGNATURES OF 

Signature 10 {The Partheniades). 

This acrostic is found in the 12th Partheniade ( Urania). 

Note the arrangement of the initials of the overhanging words 

B 
of the last two stanzas, F 

F 
B 

Begin to read on the initial N of the first word of the first verse; 
to the i-ight ; downwards ; on the initials of the words ; spelling NocAB 
(i. e. Bacon backwards), you will arrive at the initial B of the word 
' But.' 

Begin again to read on the initial N of the last word of the last 
stanza; to the left; upwards; spelling Nocab, you will arrive at the 
initial B of the word ' By,' thus giving us a figure running through 
the whole poem, and joining on the monogram of capitals at the side 
of the 3d stanza. 

The acrostic figure here is : — 

Not youre [1st word, 1st verse.] 

O 
C 
A 

But to possesse 
Fortune 
For 
By all consents. 
A 
C 
O 
None [Last word, last verse.] 



FRAXCIS BACON 117 

Signature 11. 

N^ow note the initial K of the first word of the 3d stanza, and the 

initials -r, heading the last two lines of the same stanza. 

Begin to read on the initial B of the first word of the last line of 
this stanza; to the right; upwards; spelling Bacon, you will arrive 
at the initial IS" of the word ' Not,' the first word of the first line of 
the stanza; giving us a vertical figure, thus: — 

Not any one. [1st word, 3rd stanza.] 

O 

c 

A 

By all consents 
A 
C 

o 

None. [Last word, last stanza.] 



Note. — I have combined this acrostic with that of the last signature. 



118 SOME ACROSTIC SIGNATURES OF 

The Partheniades 

PURPOSE. 

Howe twoo principall Exploytes of her Ma"® since shee came to the 
Crowne, toweete, Estabhshinent of Religion and Peace, doe assuredly 
promise her in this life a most prosperous raigne; and, after her 
death, a woorthye and longe lastinge name. 

What Causes mooved so many Forreinge Princes to bee Sutours 

to her Ma"® for Mariage; and what, by Coniecture, 

hath hitherto mooved her to refuse them all. 

Parthe: 12. Vrania. 
Not youre bewty, most gratious Soveraigne, 
Nor maydenly lookes, mayntaynde w"' maiestye, 

Your stately porte, w'^''- dothe not matche but stayne. 
For your Pallas, your presence, and your trayne ; 
All Pi'inces courtes, myne eye coulde ever see, 
Not your quieke witts, your sober governance, 
Your cleer forsighte, your f aytfull memory, 
So sweete features, in soe stayed countenance, 
Nor languages, w*" plenteous vtterance, 
So able to discourse and entertayne. 

Not noble race, farre beyonde Cesar's raigne, 

Runne in right line, and bloode of noynted kinges; 

Not large empire, armyes, treasures domayne, 
Lustye liu'ries of Fortune's deerst derlings ; 

Not all the skills fitt for a princely dame, 

Your lerned Muse w**" youth and studye bringes ; 



FEANCIS BACON 119 

Not true honoure, ne that imortall fame 

Of mayden raigne, your onely owne renowne; 

And noe Queene's ells, yet suche as yeeldes youre name, 
Greater glorye than dooth your treble crowne. 

Not any one of all these honourde partes, 

Youre princely happs and habites that doe move; 
Or as yt were enEcell all the hartes 

Of Christen Kinges to quarrell for your love. 
8®° But to possesse at once, and all the goode 

Arte and engyn, and every starre above. 
Fortune or kinde, coolde farce in fleshe and bloode 

Was force ynoughe to make so many strive 
For your person, who in our worlde stoode. 

By all consents, the mignonst mayde to wiue. 

But now, (saye they), what crueltye coold dryue 

By such repulse, your harte harder then stone. 
So many hopes of Princes to depriue; 

Forsoothe, what guyftes God from his regall throne 
Was woont to deale, by righte distributyue 

Share meale to eche, not all to any one, 
O peerles yow, or ells no one alive; 

Your pride serves you to seize them all alone. 
Not pride, Madame, but prayse of your lyon; 
To conquer all, and be conquer'd by none. 



Note. — This Partheniade is quoted in The Arte of English Poesie (on page 224 
of Arber's Reprint). Tlie hands were not in the original. 



120 SOME ACROSTIC SIGNATUEES OF 

A note on the authorship of '■The Arte of English Poesie.'' 

Speculation about the authorship of this book has run wild on 
aecoimt of the pseudonymous and, as we now know, the purposely 
misleading dedication: and also because of the inability of some 
literary historians to say frankly that they do not know, when what 
they do know is that they have no facts on which to base a statement 
that shall be final. 

We owe Mr. Edward Arber hearty thanks for his careful reprint 
of the original text; but like his predecessor Haslewood he befogs 
himself by an attemjjt to use some passages in the book to afford him 
a basis for the date of its composition and for the age of the sup- 
posed author. 

The book affords no direct evidence for an exact settlement of 
either of these cpiestions, as it might have been a juvenile work re- 
vised at the date of printing, without a revision of anachronisms. AVe 
know that the author of Shakespeare's work took good material 
where he found it, and is supposed to have been blamed for it by his 
contemporaries. We also are told by William Rawley that Francis 
Bacon always improved another man's work when he reproduced it. 
We also know from Spedding that Bacon collected copies of other 
men's manuscripts when they were worth preserving. As we know 
these literary habits, it is conceivable that in order to make a complete 
work on the ' Arte of English Poesie,' Bacon gathered useful ma- 
terial from all directions. It is also possible that he did not straighten 
out chronological references which aided him in preserving that 
reticence which appears to have been his confirmed habit or •policy 
in all matters relating to poetry, except in his glowing references 
to it in the De Augmentis Scientiarum. (Spedding, vol. iv, pages 314 
seqq., and 336.) 

Mr. Arber, like other men who have written about this book, is led 
astray by the ascription of the work to one Master Puttenham in 
the second edition of Camden's Remaines. He has felt obliged to find 
a Puttenham who would fit the case, and has accepted a George 
Puttenham as a likely candidate, chiefly on account of his name and 
his age. He sums up his very inconclusive researches into the history 
of this man by asking the question, ' Can he [the author of the book] 
he Oeorge Puttenham of ivhose existence there can be no doubt, hut 



FRANCIS BACON 121 

whose name is first jwssibly (note that slippery phrase) associated in 
print with this work so late as 1614 f 

Now observe the method of writing Uterary history which has 
enmeshed us in this mnddle over a pseudonym. 

Having- asked the question, ' Can he be Geoi-ge Puttenham ?' Mr. 
Arber prints the name of George Puttenham(in red ink) ontlae title- 
page of his edition, as if George Puttenham were the undisputed 
author whose title was proved, instead of being based on the wild- 
est and unansivered guess. 

I am not now writing history, so I shall refer every one, for all the 
facts which we know, to a full and very clear statement of them by 
the Rev. Walter Begley, in the first volume of his work entitled 
Barons N^ova Resuscltatio (London: Gay & Bird, 1905). 

I must, however, mention one fact which we get from Begley 
(vol. i, p. 102). 

It refers to Richard Carew's manuscript of The Excellencie of the 
English Tongue, the matter of which was inserted in the second 
edition of Camden's i?em«me.'<, in 1614, and contains the much quoted 
passage: 'And in a word, to close up these proofs of our copious- 
ness, looke into our Imitations of all sorts of verses affoorded by any 
other language, and you shall find that Sir Philip Sydney, Master 
Puttenham, Master Stanihurst and divers more have made use how 
farre wee are within compasse of a fare imagined possibilitie in that 
behalfe.' 

I quote Begley's own words («&i supra) : ' Quite by chance, I 
happened to hear that Richard Carew's original manuscript was in 
the British Museum, and on making inquiries I found it among 
other papers of Camden's which at his death in 1623 came into the 
Cottonian collection of manuscripts, and had been arranged and 
bound together in large folio volumes. I took a printed copy of 
Camden's Remaines (1611), containing the first notice of Putten- 
ham by Carew, and began to collate the manuscript and the book 
word for word. I found that the pi'inter had copied the manuscrij^t 
very accurately, and had even reproduced from it the curious read- 
ing, " Shakespheare and Barlowe's fragment," which has always 
been supposed to be an early reference to Shakespeare and Mar- 
lowe, muddled by the printer. But I found Carew's manuscript 
had it so most legibly ; in fact, the manuscriiit and the book agreed 
word for word, except in one instance, where a later hand in blacker 



122 SOME ACROSTIC SIGNATURES OF 

ink had crossed out " couler " and written " colored " above it, and 
the printed text had " coloured." 

'And noAV came the great surprise. When I came to the Putten- 
ham passage, Maister Puttenham was not there, and never had been, 
for there Avas no room for him in the manuscript; for, while the jjrinted 
Semaines read, " Sir Philijj Sidney, Maister Puttenham, and Maister 
Stanihurst," the manuscript had most plainly, without blot or erasure, 
" Sir Philip Sydney, Mr. Stanihurst." 

' So it became pretty plain that " Maister Puttenham " had been 
foisted in between Sidney and Stanihurst, since Carew's manusciiipt 
had been received by Camden — for it is clear that Camden did 
receive this very manuscript, for it owes its salvation to bemg 
amongst his papers left to Cotton.' 

In the last paragraph even Begley shows the signs of his academic 
training in vicious historical methods of handling evidence; for he 
takes it for granted that the manuscript left by Camden to Cotton 
was the identical manuscript from which the passage in the Remaines 
was printed. It is probable enough that the manuscript was that copy, 
and it is also possible enough that it was the original manuscript; 
but after all why not stick to the evidence, which is remarkable 
enough as it is ? 

Here we have what looks like an insertion of the words 'Maister 
Puttenham ' into the text of Carew's article while it was passing 
through the hands of the printers. Here, again, the author Richard 
Carew himself might have read the proof of his particular article. I 
do not know what agreement there was between Carew and Camden 
that Carew should see the proof before it finally went to the press. 

"We do know, and the knowledge at this point is subject for reflex- 
ion, that Camden (and Cotton) thouglit well enough of Francis 
Bacon's judgement and knowledge to submit the manuscript of the 
Annales to Bacon, and that Bacon made many interpolations in it 
which Camden embodied in the printed work. These evidences of 
Bacon's relations with Camden, as interpolator, can be seen in Sped- 
ding's edition of Bacon's Works. (Vol. vi, pp. 350-364.) 

The ' Dedication ' to the book is suspect on its face. They had an 
unpleasant way of slitting a man's ears or his nose in those days. Ben 
Jonson and Chapman had a narrow escape from this punishment for 
printing something which was thought by a powerful man to be de- 
rogatory to the Scots. Here we have the case of a printer who is 



FRANCIS BACON 123 

supjjosed to say that he prints a book ' intended to our soveraigne 
Lady the Qneene, and for her recreation and service chiefly devised.' 
I should surmise that for doing such a thing without good warrant 
a printer would lay himself open to punishment. The ' Dedication ' 
mentions nothing about permission. 



124 so:me acrostic signatures of 



CHAPTER VII 

VEXUS AND ADONIS— LUCRECE— SHAKESPEARE'S SONNETS 
— THE PASSIONATE PILGRIME— A LOVERS COMPLAINT- 
POEMS WRITTEN BY WIL. SHAKESPEARE, GENT. — THE 
PUCENIX AND THE TURTLE 

Signature 12. 
This acrostic is fomid written from the letter at the njjper right- 
hand corner to the letter at the lower left-hand corner of William 
Shakespeare's dedication of the first edition of Venus and Adonis to 
the Earl of Southamj^ton. Follow the same method of alphabetical 
sequence as heretofore, but use the terminals — first and last letters 
of all words, and of all visible divisions of words. 

Begin to read on the terminal N of the word ' in,' at the upper 
right-hand corner of the 'Dedication'; to the left; downwards; to the 
left-hand terminal F of the pait-word ' full ' at the lower left-hand 
corner of the 'Dedication'; having spelled Nocab Sicnvaef, i. e. 
Frauncis Bacon, spelled backwards. 
The acrostic figiu'e here is : — 

ilS" 
O 
C 
A 
B 
S 
I 

c 

Y 
A 
R 

Full 

For the convenience of readers I print the ' Dedication ' to show the 
terminals of words and part-words in a lai'ger t3'pe, so that they may 
be followed the more easily. The facsimile is on an ensuing page. 

Note. — The facsimiles are reproduced approximately the same size as the 
originals. The first five are photographed from the facsimiles edited by Mr. Sid- 
ney Lee for the Clarendon Press. 



FKANCIS BACON 



125 



ighT HonourablE, I KnoW NoT HoW I ShalL OffenD IN . 

KDedicatiuG MY VnpolishT LineS TO YouR LordshiP, XoR 
HoW ThE WorldE VvilL CensurE MeE FoR ChoosinG SO 

StronG A ProppE TO SupporT SO VveakE A BurtheN, 

OnelyE IF YouR HonouR SeemE^uT PleaseD, I AC- 
CounT MY_SelfE HighlY PraiseD, AnD VowE TO TakE AduantagE OF AIL 
IdlE HoureS, TilL I HauE HonoureD YoU VvitH SoiuE GraueR LabouR. BuT 
IF ThE FirsT HeirE OF MY InuentioN ProuE DeformeD, I ShalL BE SoriE IT 
HaD SO NoblE A GoD-FatheR : AnD NeueR AfteR EarE SO BarreN.A LanD, 
FoR FearE IT YeelD ME StilL SO BaD A HaruesT, I LeauE IT TO YouR HonoU;;^ 
RablE SuiueY, AnD YouR HonoR TO YouR IleartS ContenT, VvicH I WisH 
MaY AlvvaieS AnsvverE YouR OvvnE VvisH, AnD ThE VvorldS HopE- 
FulL ExpectatioN. 



The ' Dedication ' of Ve)ius and Adonis, showing in large type the terminals of 
the words and part- words. 



126 SOME ACROSTIC SIGXATURES OF 

My friend Mr. G. H. Parker has shown me another remarkable 
reading in this 'Dedication,' which is in its own way as convincing as 
an acrostic/ 

Read the 'Dedication' down to the word 'mee,' and continue in the 
order used in our common reading, from left to right, but using only 
the terminals and spellmg Fkauncis Bacon, you will arrive at the 
terminal N of the word ' expectation' — the last terminal in the ' Dedi- 
cation.' 

The reading will thiis appear: — 

Right Honourable, I know not how I shall offend in 
dedicating my vnjDolisht lines to your Lordship, nor 
hoAv the world will censure mee Fkauncis Bacon. 

The terminals will be seen to fall on the following words and part- 
words : — 

how the world will censure mee FoR 

A 

Vveake 
burtheN 

aC-count 
Idle 
houreS 
But 
A 

Content 
Owne 
expectation 

It looks as if we have here the explanation of the much discussed 
phrase, ' the first heire of my invention.' By the time the reader has 
read this book through, he will have begun to realise the extent to 
which Francis Bacon fathered his writings on other men. Spedding 
gives numerous examples, and the oSTorthumberland manuscript con- 
tains others, in which the ' father ' is the Earl of Essex, Arundel, Sus- 
sex, etc. Here the ' father ' is William Shakespeare, Bacon's invention, 

^ This is a trick similar to that shown by Begley in Is It Shakespeare? page 
355. The unknown discoverer of that device came close to a discovery of the trick 
of reading the types as if they were threaded on a string. His discovery was an 
important step in my own search for a possible method of hiding an acrostic in 
such a way that it would not interfere with the heat of composition. 



FRAXCIS BACOX 127 

to which Venus and Adonis is the first heir. This is, so far as we 
know, the first time that a poem had been fathered on that handsome 
pseudonym — often spelled Skake~sj)eare, and suggestive of Pallas 
'^ the Sjpear-shaker,^ who, so Bacon tells us in his De Sapientia Yete- 
1-um, was born in armoiu; fully equipped, out of Jove's head. (See 
Begley, Is It Shakespeare^ pp. 284-287.) 

That any one could regard so sophisticated a poem as Venus and 
jidonis as a first poem of a rustic and inexperienced young man, has 
long made me feel that literary history and criticism rested on inse- 
cure foundations. It has seemed impossible to believe that the gossa- 
mer biography of Shakespeare, spun upon 'scholarly inference,' 
which is all that we have yet had from oiu- academic leaders, would 
not be blown away by a cool breeze from the land of documents 
and common sense. 



128 



SOME ACROSTIC SIGNATURES OF 




VENVS 

AND ADONIS 

ftlia miretu^ valgus : mihifliutfu i^^oUo 
FocfUa CaJlaiiafUoA tmnijirct aqtu. 




LONDON 



Imprinted by Richard Field , and arc to be (old ac 

ihc figne of the white Greyhound in 

Paules Church-yard. 

X5P3. 



FRANCIS BACON" 



129 





TO THE RIGHT HONORABLE 

Henrie VVriothefley,Earle of Southampton, 

and Baron of Titclificld. 

IghtHoKoiirdle, Jkr}ovi> nothorv I shall offend in 
dedicating my vnpolisht lines toycurLordshi^^nor 
how theviorlde will ccnfurcmee for chcojingjo 
(Irong aproppe to fupport fo vveake a l/uuhe/J, 
onelye if y cur Honour feeme hut p leafed, I ac- 
count myfelfe highly praifed, axd vone to take aduant Age of all 
idle homes till I haue honoured you with fome grauer labour, Lut 
if the fir it hetre of my inuention proue deformed^l pjall he [orieit 
hadfo noble a godfather : and neuer after eare fo barren a land, 
forfeare it yeeldntefiillfo had a h.truejl , / leav.eit to jour Honoii' 
rahlefuruey^nd your Honor to your hearts content ^ti/hich I wifh 
inajf tlvviies anfvvere your ovvnevjip], attdthe vvorldshopCi 
^uliexpeilitiont 

Your Honors in all dutse, 

William Shakcfpcare. 



(The ' Dedication ' of Venus and Adonis) 



130 SOME ACROSTIC SIGNATURES OF 

Signature 13 ( Venus and Adonis). 

"We find still another acrostic in this poem. This time it is in the 
last stanza. 

Frame the stanza and begin to read on the terminal K of the 
last word, ' seen,' in the stanza, using all the letters in the verse as 
if they were strung on a string; to the right or to the left; upwards 
throughout the stanza and back; speUing Nocab Sicxuakff (i. e. 
ffraimcis Bacon, spelled backwards), you will, after reading in 
either direction, fuid yourself on the letter F of the woi'd ' Finis.' 

The acrostic figure here is: — 

S^ ^ A 

I \ 

/ C 

\ I 

c / 

\ o 



^^ and not be seeN 



FRAKCIS BACON 131 



VENVS AND ADONIS. 

She towcs her head,the ncwr-fprong flourc to fmcl, 
Comparing it to her/ldonis breath, 
And faies within her bofbme it (hall dwell. 
Since hchim(elfc is reft from her by deathj 

She crop's tlic ftalkc, and in the breach appeared, 
Green-dropping fap,which ihc coparcs to teares. 

Poore flourc( quoth (he )this was thy fathers guife, 

Sweet iflue of a more fweet fmclling fire, 

For euerie little griefe to wet his eics, 

Togrow vnto himfclfe was his dcfire; 
Andib dsthine,^t know it is as good. 
To wither in my bre(l,as in his blood. 

Hercwas thy fathers bed, here in my breft. 
Thou art the next of blood,and tis thy right, 
Lo in this hollow cradle take thy reft, 
My throbbing hart fhall rock thee day and mghtj 
There fliall not be one minute in an hourc, 
y Vhcrcin I wil not kifle my fweet loucs flourc. 

Thus weary ofthc world, away (he hies, 
And yokes her filuer doues,by whofe fwiftaldc, 
Their miftrcflc mounted through the cmptic skies, 
Inher light chariot,quickly is conuaidc. 
Holding their courfetoPaphoSjwheretheir queen, 
Meancs to immure her felfe, and not be feen. 
FINIS 



frajs^cis bacon 



133 




L V C R E C E. 




L O N U O N< 



printed by Richard Field, for lolm Harriron,and arc 

to be fold at ihc fignc of the white Creyhoiin<l 

inPaulcsCburh yard, i 5 P 4. 



134 



SOME ACROSTIC SIGNATURES OF 



TO THE RIGHT 

HONOVRABLE, HENIIY 

VVriothcflev,HarlcofSouthhampCon, 
and Baron otTuchficld. 

H E louc 1 dedicate to your 
Lordfhipis without endrwhcr- 
of this Pamphlet without be 
ginning is but a fupeiHuous 
Moity. The warrant I hauc of 
your Honourable dlfpofition, 
notthewonh of my vnuitord 
Lines makes it aflured of acceptance. V Vhat 1 hauc 
done is yours, what I hauc to doe is yours, being 
part in alll haue,dcuotedyours. Were my worth 
grcaier,my duety would ihew greater, meane time, 
as it i$,it is bound to your Lordlhip; To whom I wifli 
long Ufe ftill Icngthned with all hanpineflc. 




Your LordQiips in all duety. 



W\illiani Shakcfocarc. 
At 



FEANCIS BACOIN' 135 

Signature 14. 

This acrostic is found in the first page of the text of the first 
known edition of Lucrece, published in 1594. (See page 137.) 

The phrase in the dedication to Southamjiton, ' whereof this Pam- 
phlet without beginning,' is suggestive to a man on the look-out for 
a cipher. ^ 

The eye is at once caught by the big monogram n r> at the head 
of the first stanza of the poem. 

Begin to read on the large F of the monogram; on the initials of 
the words; in the usual zig-zag string fashion; to the right; down- 
wards ; spelling Fran, you will find yourself at the initial N of the 
word 'name' in the first line of the second stanza. 

Begin again to read on the initial B of the monogram ; to the right, 
or to the left; on the initials; downwards; spelling Bacon, you will 
again arrive at the initial N of the word ' name ' in the first line of 
the second stanza. 

Begin to read on the letter B used as the printer's ' signature' at 
the foot of the page; to the right, or to the left; upwards; on the 
initials of the words; spelling Bacon, you will again arrive at the 
initial N of the word ' name.' 

Here we have the signature keyed from point to point, and spell- 
ing in its entirety Fran Bacon, which is the form of signature 
used by him in the dedication to his brother Anthony of the first 
edition of the Essays, a facsimile of which is given on page 28. 

The acrostic figure here is: — 

F Fb 

A 

A O 

Name of, etc. 
O 
C 
A 

B [The printer's ' signature,'] 



R 



136 SOME ACROSTIC SIGNATURES OF 

Signature 15. 

A hint from my friend Mr. Walter Ai-ensborg called my attention 
to another acrostic, which I had overlooked, on the hrst page of The 
Rajte of Lucrece. 

Begin to read from the cajjital B (the printer's 'signature') at 
the foot of the page; to the right; upwards; on the terminals; spell- 
ing Bacoxo, you will arrive at the initial terminal O of the word 
'of in the line: — 

' Hap'ly that name of chast, vnhap'ly set.' 

Begin to read from the initial O of the word 'of; to the left; up- 
wards; still on the terminals; spelling Ocsicnakf (Francisco, back- 
wards), you will arrive at the terminal F of the word ' OF ' at the 
end of the string of type on the page (THE RAPE OF). 

The acrostic figure here is: — 

THE RAPE OF 
K 
A 
N 
C 
I 

s 
c 

Hap'ly that name Of chast, unhap'ly set 
N 
O 
C 
A 

B [The printer's ' signature ' at the 
foot of the page.] 



FRANCIS BACOX 



137 




THE RAPE OF 

L V C R E C E. 

FRoM thebefiegedArdeaallinpofi-, 
5orncby the truftlefle wings offalfe defirc, 

'^ Luft-brcathedTARQvjNjlcaucs the Roman hofl-, 
AndtoColatiumbeares the lighdeiTc fire, 

V Yhich in pale embers hid, lurkes to afpirc, 

And girdle with embracing flames, the waft 
Of CoLATiNES fair lone, LvcRECEthechaft. 

Hap'Iy that name of chaft, vnhap'Iy fct 
This batelcflc t6^2^z on his keenc appetite;' 

V Vhen C o L A T I NK vnwifely did not let. 

To praifc the clcare vnmatchcd red and white, 
Which triumpht in that skie of his deh'ght: 
V Vhere mortal ftars as bright as heaues Beauties, 
With pure afpeits did him peculiar ducties. 

B 



FEANCIS BACO^N" 139 

Signature 16 (Lucrece). 

Let us follow up the hints given in the 'Dedication,' by reading 

the poem until we come to the last stanza on the second page. In 

this stanza our attention is at once arrested by the plain acrostics 

ruiuiing up and down the front of the stanza, thus : — 

B Head dcncnwards, 

fp Ji. I'lito, and read 

■y lip from the bottom 

X^ letter. Foot. 

o 
o 

F 

Now I did not see the poet write this verse, so I cannot say 
whether these seeming acrostics are intentional. I shall, however, 
assume intention as a working hypothesis, and shall regard the words 
as if they mean B. Tato and Foot, as meaning the foot of the cipher. 

Now note the possible double entente oi this verse. (See page 141.) 

Note that the initial of the first word of the first line on the page 
is F; and that the initial of the first word of the last line on the 
page is also F. 

Begin to read on the initial F of the word ' For ' the first word 
of the first line; to the right; downwards; on allihe letters of all the 
words, as if all letters of the verse were on a string; spelling Fran- 
cisco Bacono, you will arrive at the initial O beginning the first 
line of the second stanza. 

Now turn, and read to the right from this O (or cipher), which is 
at the beginning of the first line of the second stanza ; on all the let- 
ters; still downwards; spelling Onocab Ocsicnarf, you will arrive 
at the initial F of the word ' From,' which is the first Avoi-d of the last 
line. 

Thus the acrostic is keyed from the initial of ihe first word of the 
first line to the initial of the first word of the last line. 

Observe also that, as in Signature 15, the F of the word 'OF ' in 
the page-heading (THE RAPE OF, etc.) is used as one end of a 
string. If you begin to read from that F; to the right; downwards; 
on all letters of all words; spelling continuously Franciscobacono- 
nocabocsicnarf, you will again arrive at the initial F of the word 
' For,' which is the first word on the last line, and the end of the 
string. The reader can make his own figure for this acrostic. 



140 SOIVIE ACROSTIC SIGNATUEES OF 

The acrostic figure here is : — 

For he the night before in Tarqiiins Tent, 
R 
A 

C 
I 

s 
c 
o 

B 
A 

C 

o 

Oh happinesse enjoyed but of a few, 
K 
O 
C 
A 
B 
O 
C 
S 

I 
c 

N 
A 
R 

Fi'om theeuish eares because it is his owne ? 



FKANCIS BACOK 141 



THE RAPE OF LVCRECE. 

For he the night before inTarquinsTcnt, 
Vnlockt thetreafurc of his happie ftate : 
V V hat prifelefTc wealth the hcaiiens had him Icn^ 
In the pofleflion of his beauteous mate. 
Reckning his fortune at flich high proud rate, 
That Kings might be efpowfed to more fame, 
But King nor Peerc to fuch a pcerelclTe dame. 

O happinefTe enioy'd but of a few. 
And if poflfeft as (bone decayed and done : 
As is the morning filuer melting dew , 
Againft the golden fplendouroHhc Sunnc. 
An expir'd date canceld ere well begunnc, 
-• Honour and Beautie in the owners armes, 
» Arc weakeliefortreft from a world ofharmcj. 

' Beautie it fclfe doth ofic felfe pcrfwade, 
' The eies of men without an Orator, 
What needeth then Appologie be made 
To fci forth that v/hlch is fo fingulcr ? 
• Or why is Colatine the publilhef 
» Of that rich iewell hefhould keepe vnknown, 
* From theeuilh eares becaufeit is his owne ? 

Perchance 



142 SOME ACROSTIC SIGNATURES OF 

Signature 1 7. 

As we found that the last stanza of Vemis and Adonis had been 
turned to account, so we now find that a similar trick has been used 
in the last stanza of Lucrece. 

Note that the big capital N, used by the printer to denote the fold- 
ing of the paper into what the printing craft term signatures, has 
been put up out of its proper place at the bottom of the page to a 
position above the word ' Finis.' This is hint enough for another 
signature which might be expected to be at the end of the poem. 

Begin to read from this capital N; upwards; to the right; on 
terminals; throughout the whole stanza and back again; spelling 
NocAB Narf (Fran Bacon), you will arrive at the initial F of 
FINIS. 

Begin to read from the F of FINIS; upwards; to the right, or to 
the left; on terminals; throughout the whole stanza and back again, 
or throughout the whole page and back again; spelling Fran 
Bacon, you will arrive at the printer's " signature " N, each time. 

The acrostic figure here is : — 



B 


c 


/ 


\ 


N 


o 


\ 


J 


^R. 


N 




~ FINIS 



Signature 18. 

Observe that this last page of Lucrece is so planned that by read- 
ing from the initial F of the word FINIS ; on initials only ; upwards ; 
to the right (or to the left) ; to the top of the last stanza and back 
again, or to the top of the page and back again ; you will arrive at 
the capital N (the printer's " signature ") after having spelled F. 
Bacon, in each case. 



FRANCIS BACON 143 



THE RAPE OFLVCRECF. 
This fayd, he rt rookc his hand vpon his brcaO, 
And kilt the fauil knife to end his vow: 
And to his protcnation vrg'd ihcrcft, 
V V ho wondring at him, did his words allow. 

Thcnioyntlietothcground their knees thcv bow. 
And that decpc vow which Brvtvs madc'bcforc 
He doth againc repeat, and that they fwore. 

When they had fworne to this aduifed doome, 
They did conclude to bearc dead Lvcrece thence 
To Ihcw her bleeding bodie thorough Roomc 
Andibtopublilli Tar covins fowle offence; 
Which being done, with /peedie diligence. 
The Romaines plaufibly didgiue confent. 
To T A R Q^v 1 N s cuerlafting baniflimcnt. 

N 
FINIS. 



144 SOME ACROSTIC SIGNATURES OF 

Signature 19. 

This acrostic is found in the first three of Sliahe-speare's Sonnets, 
as they appear in the first known edition, published in 1609. 

My reason for taking these three sonnets is, in the first phice, that 
they vii'tually form a 42-line poem comjjosed of three sonnets. The 
fourth sonnet begins on the same subject, but with a fresh treatment of 
it, as if it might have been the first of a second batch sent to the same 
person on another occasion. On a priori grounds we may reasonably 
suppose that the sonnets were sent or written in this way, and also 
because we find this group of them so printed in the Poems hy Wil. 
ShaTce-sj^eare. Gent., published in 1640, a strong indication that that 
was the way they were seen in a manuscript used in the preparation 
of that edition of poems. I give a facsimile of the three sonnets as 
they appeared in the edition of 1640, where they are treated as one 
poem, and are entitled ' Love's Crueltie.' 

This signature is hidden with imusual care; although, to be sure, 
the hint of its existence is in full sight. (See pp. 150-51.) 

jSTote the monogram formed by the initials at the head of the first 

sonnet H and the words I .^t at the head of the third. 

B 

Note also the initial of each end Avord of the inner indented lines 
(i. e. the 2d line and 13th line). They are N O 



B B 

As a working hypothesis I shall pay attention to the large cipher O 

in the monogram I i-^; for to a man playing with the appearances of 
-M-^^ T Ooke 

words as well as their meaning, it is possible that the w^ords I ^^ 

may have been chosen to mean ' Looke ON Now'; also ' Lo!' 

Begin to read from the large cipher O of the monogram (third 
sonnet); to the right; downwards, on the initials of the words; 
spelling backwards Onocab, you will arrive at the initial B of the 
word ' But,' at the ?)er/immig of the 13th line. 

Begin again to read fi'om the same large cipher O of the mono- 
gram; to the left; downwards, on the initials of the words; spelling 
backwards Onocab, you will arrive at initial B of the word 'be,' at 
the end of the 13th line. 



FRANCIS BACON^ 145 

Here we have the initials B of the first and last words of the 13th 
hne as bases or butts from which to work. The acrostic figure at this 
stage being:— -_- q 

Ijn 

o o 
c c 

A A 

But Be 

Now let us see what happens when we read from the large N of 
the monogram. 

Begin to read on the initial N of the word 'Now' at the beginning 
of the 2d indented line; on the initials of the words; to the right; 
downwards; spelling Nocab (Bacon spelled backwards), you will 
arrive at the initial B of the word ' be,' at the end of the inner in- 
dented hne next the bottom of the sonnet, i. e. at the end of the 13th 
line. 

Now, again, begin to read from the same initial N of the word 
'Now,' at the beginning of the 2d indented line; to the left; down- 
wards; on the initials of the words; spelling backwards, Nocab, you 
will find yourself at the initial B of the word ' But,' at the heginning 
of the inner indented line next the bottom of the sonnet, i. e. at the 
heginning of the 13th line. 

Now begin to read from the initial B of the word ' But,' at the 
beginning of the 13th line; to the right; on the initials of the words; 
upwards; spelling Bacono, you will arrive at the initial O of the 
word ' other,' at the end of the second line. 

Now begin to read from the initial B of the same word ' But,' at the 
beginning of the 13th line; to the left; on the initials of the words; 
upwards; spelling Bacono, you will again arrive at the capital O 
in the word ' other.' 

Now begin to read from the initial B of the word ' be,' at the end 
of the 13th line; to the left; upwards; spelling Bacono, you will 
arrive at the initial O of the word ' other,' at the end of the 2d line. 

Now, again, begin to read from the same initial B of the Avord'be,' 
at the endoi the loth line; to the right; upwards; spelling Bacono, 
you will arrive at the initial O of the word ' other,' again. 

Here we seem to have the two letters O of the word I ,Ooke and 

of the word ' other ' to guide us as a start. 



146 SOME ACROSTIC SIGXATURES OF 

Xow begin to read fi'om the initial O of the word ' other ' at the 
end of the second line of the third sonnet; on the initials of the words; 

O T Ooke 

to the left ; using the capitals X in the monogram -L^Xow ; upwards ; 
spelling bactv\ards Oxocab Ocsicnarf, i. e. • Francisco Bacono,' 
you will find yourself at the large F of the monogram at the head 
of the first sonnet. 

The acrostic figure here is: — 



b\ 




X 




c 




I 






S 




c 




o 




B 




A 




C 




O 


iOoke 


X 


Xow 


Other 


o 
c c ^ 


qX X 

c 


A A 


A A 


But 


Be 



T ^ 

Now begin to read from the large X of the monogram _I_JX ; to 
the right ; upwards ; on the initials of the words ; spelling backwards 
XocAB SicxARFF, i. c. ' ffrancis Bacon,' you will again arrive at the 

large H of the monogram at the head of the first sonnet. 

Repeat the same reading, but to the left, and spelling Xocab 

SiCNAEF, you will still arrive at the large p at the head of the 

first sonnet. 



FRANCIS BACON 147 

The figure in its entirety is a pyramid upon a firm base, thus : — 

F 

R 
A A 

N ^ 

^ c ■ 



c 



I 

s 
c 
o 



S B 

B A 

A C 

C O 

O N 

Now • Other 

O ^ N N 

C " O O 

A C C C 

A A A 

But Be 



FEANCIS BACOIS^ 



149 




SHAKE-SPEARES 



SONNETS. 







Ncuer before ImpriniCecl^^?'.i:^P' 



AT LONDON 

By G.£id for T*. 7*. and are 

wbe ioidc by mBUm^Uy, 



150 SOME ACROSTIC SIGNATURES OF 




S a A K E^S P E A B. £ S^ 

SONNETS, 

FRom faireft creatures we dcfire increase. 
That thereby beauties R^fe might neucr dlCt 
But as the riper inould by time deccafe. 
His tender heire might bearc his memory: 
But thou contraftedto thine owne bright eyes, 
Feed'ft thy hghti flame with fclfe fubftantiallfcwcU, 
Making a fanrne where aboundance hes. 
Thy fclfe thy foe,to thy fweet fclfe too crucll: 
Thou chat art now the worlds freHi ornament. 
And only hcrauld to the gaudy ^ring, 
Within thine owne bud burieil ihy content. 
And tender chorle makft wait in iiiggarding: 
Pitty the world.or clfc this glutton be, 
To catc the worlds duc,by toe grauc and thee, 
2 
XTA^Hen fortie Winters fliall bcfeige thy brow. 

And digge deep trenches in thy beauties fieldj 
Thy youthes proud liucry fo gaz'd on now, 
Wil be a tottcr'd weed offinal worth held: 
Then being askt.where all thy beauticlies. 
Where all the treafurc of thy lufty daies; 
To fay within thine owne deepcfunken eyes. 
Were an all-eating fhaine,and thriftleflc praife. 
How much more praife deferu'd thy beauties vfe. 
If thou couldft anfwcre this faire child of mine 
Shall fum my count,and make my old excuTc 
Pxoouing his bcautic by fucccffion thine. 



FRANCIS BACON 151 



This were to be new made when thou art ouli. 
And fee thy blood warmc when thou fccl'ftit could* 

I 

LOoke i n thy glaflc and tell the fike thou vevseft, 
Now is the time that face fhosld forme aaothffr,. 

Whofe irefHrcpaicc if now thou not rent weft. 

Thou doo'ft beguile the world^vnblcCTc fome mother. 

For where is (h: fo fti re whofe vn-eard wombc 

Difdaines the tillage of thy husbandry? 

Or who is he fo fond will be the tombe. 

Of his felfc louc "to ftop pofteriry? 

Thou art thy mothers glade and ITie in the€. 

Calls backe the louefy Aprill of her prime, 

So thou through windowes of thine age fiutt fee, 

Dilpight of wrinkles this thy goulden time 
But if thou liuc rcmembrednot to be. 
Die Cmglc and-tbine Image dies with tbce. 

4 

VNthrifty louclinefle why doft thou fpcnd, 
Vponthy fclfc thy beauties legacy? 
Natures bcqueft giues nothing but doth lend. 
And being franck flie lends to thofe are free: 
Then bcautious nigard why dooftthouabuie. 
The bountious largefTe giucn thee co^iu^ 
Profides vfcrer why dooft thou vie 
So great a fumme of fummesyct can'ft notUuc? 
For hauing traffike with thy {clfe alone. 
Thou of chy felfe thy fweet felfe doft deceaue. 
Then how when nature calls thee ta be gone. 
What acceptable tyfitdie can'ft thoulcaue? 

Thy vnufd beauty muft be tomb'd with thee. 

Which vfcd Hues th'exccutor to be. 

THofc howerj that with gentle workedid framf, 
The loucly gaze where euery eye doth dwcU 
WiUpIay the uianis to th« very f^mc. 

And 



152 SOME ACROSTIC SIGNATURES OF 



Lo'VtscrueUiel 

pHom falreft creatures we defire f ncrcafe. 

That thereby beauties Rofe might never dJCj 
But as the riper ihould by time dcceafe* 
His tender Keire might beare hit memory : 
But thoucontraftedto thine owne bright eyes^ 
Feedft thy lights flame with felfe fubftaniiall fewell. 
Making a famine where aboundaoce lies, 
Thy felfe thy foc,to thy fweet felfe too cruell; 
Thou that art now the worlds frefli ornament. 
And only herauld to the gaudy fpring. 
Within thine owne bud burieft thy content, 
And tender chorle makft waft in nigsjarding 2 
Pitty ihc worW,or elfe this glutton be» 
To cfttethe worlds due,by the grave and thee. 
Whenfortie Winters (hall befeigethy brow. 
And digge deep trenches in thy beauties fieldj 
Thy youthes proud livery fo gaz'd on now. 
Will be a totter'd weed of fmall worth held • 
Then being askt,where all thy beautie lics^ 
Where all the treafure of thy lufty daycs j 
To fay witliin thine owne deepe funken eyej* 
Were an all-eating (hame,and ihriftkfle pra/fe. 
How much more praife deferv'd thy beauties ufe* 
If thou cculdft anfwcre this faire child of mine 
Shall fum my count,and make my old excufc 
Prooving his beautie by fucccffion thine. 
1 his were to be new made when thou art old. 
And fee thy blood warme when thou feel'ft it cold. 

LoofcC 



Shakespeare's first three sonnets as they appear in the collection of his poems 
published in 1640, and entitled, Poems Written by Wil. Shakespeare. Gent. 



FRANCIS BACON 153 



Poems* 

Looke intliy glaflfe and tell the face thou veweff. 
Now is the time that face fliould forme an other, 
Whofe frefh repaine if now thou not rencweft, 
Thcu doo'ft beguile the worldjUnbleilefome mother. 
For where is (he (o faire whofe un-eord wombe 
Difdaincs the tillage of thy husbandry ? 
Or pvho is he fo fond will be the tombe. 
Of his (elfc love to flop pofteriiie ? 
Thou art thy mothers glafle and (lie in cItcc 
Calls backc the lovely Aprill of her prime. 
So thou through w'mdowcs of thine age ftialt fee, 
Difpight ot wrinkles this thy gouldedtime. 
But if tl.oulive remember not to be. 
Die (ingle and thine Image dies with thee* 



ToutbfuHglor^, 

r\That you were your felfe ,but love you are 

No longer yours, then you v«iir ftlfe here live, 
Againft thiscomming end you fhould prepare. 
And yourfwcet fcmblance to feme other give* 
So Ihould that beauty whicli you hold' in leafe 
Find no determination, then you were 
Vour Iclfc ai;aio afccr your felfes deceafe, 
*Vhen your fweet iflue yoor fwecte forme (hould beare« 
WIto lets fo faire a houfe fall to decay, 
IVhich husbandry in honour might uphold, 
Rgainft the iJormy gulls of winters day 
And barren rage of deaths eiesnall cold i 



FRANCIS BACOI^ 



155 



Signaiwe 20. 

The ignoring of the large initial is seen in other sonnets: the 141st 
and 142d for instance. (See pp. 158-59). 

Let us first take the 141st. Here we not only find that the large 

initial I has been ignored, but, as in the case of Sonnets i, ir, iir, 

the signature runs from the corner letter of the upper and lower 
indent. Here is a figure which shows the plan of the indent: — 



F 



or they in thee, etc. 



B 



T 



Here you see that the corners of 
the indents are occupied by the 
letter F in the upper, and by O in 
the lower. 



O 
T 



nely my plague, etc. 



We shall treat this sonnet as we treated the 3d Sonnet, by begin- 
ning to read from the initial O of the word 'Onely'; to the right; 
upwards on all the letters of all the words; spelling backwards 
Onocab Ocsicnarp, you will arrive at the initial F of the word 
' For,' in the upper indent. 

The acrostic figure here is: — For they in thee, etc. 
Read upwards and spelled R 

backwards. -^ 

N 

C 
I 

s 
c 
o 

B 
A 
C 
O 

N 

Onely my plague, etc. 



156 



SOME ACKOSTIC SIGNATURES OF 



Signature 21. 

The ignoring of the big initial of a sonnet is exemplified also in 
the 142d Sonnet. Here, however, we find that the outer letters of 
the indents have been used as the terminals of the acrostic. Let us 
look at the plan of the indent. (See p. 159). 

Olue, is, etc. 

H 



L 



O 



Sere yon see that the outer 
letters of the indents are 
in the upper, and B in the 
lower. 



I 

B y selfe example, etc. 

The O in the upper indent is used as it was used in the 3d Sonnet. 

Begin to read from the initial B of the Avord ' By '; to the right; 
upwards; on all the terminals of all the words; spelling Bacono, 
you will arrive at the initial O at the top of the upper indent. 

The acrostic figure here is : — 

One is my sinne, etc. 
iN 
O 
C 
A 
By selfe example, etc. 



FRANCIS BACOIT 157 

Signature 22. 

While we are dealing with these pages of Shakespeare^ s Sonnets, 
we may as well note the acrostic which is to be seen in the 140th 
Sonnet. 

Observe that the cipherer has here found it convenient to use the 
initial of the first word of the first line, and that of the first word of 
the last line as the visible ends of his signature. 

Begin to read from the initial B of the word ' Beare,' which is the 
initial of the first word of the last line ; to the right ; upwards ; on all 
the letters of all the words ; si)elling Bacono, you will arrive at the 
letter O in the word 'nOt' (6th line from top). Then continue to read 
from the letter O of the word 'nOt'; to the right; upwards; on all 
the letters of all the words ; spelling Onocab, you will arrive at the 

.g,v. .i.x^x.^. J3 of the word _I3 
line of the sonnet. 

The acrostic fiofure here is : — 



lE 
large initial J3 of the word _D which is the first word of the first 



Be wise as thou art cruell, etc. 
A 
C 
O 

Though nOt to loue, etc. 
N 
O 
C 
A 
Beare thine eyes straight, etc. 



158 SOME ACROSTIC SIGNATURES OF 



Sonnets. 

h more then my ore-prcfl derencc can bide? 
Let inc excufc thce.ah my louc well knowes. 
Her prctiie lookes liaue bccnc ruinc encmif s. 
And therefore from my face flic turncs my foes, 
That they elfc-w here might dart'thcir iniuries : 
Yet do not fu,buc fincc I am nccrc {l.iine. 
Kill mc out-right with lookcs,and rid my paiac 
140 

BE wife as ihou art crucli,do not prcfTe 
My toung-tidc patience with too much difdaioc : 
Lcafi forrow lend mc words and words cxpiefle, 
The msnner of iny pittie wanting painc. 
If I iniglit teach thee wittc better it '.vearc. 
Though not to loue.yet loue to tell me fo, 
As tcftie fick-men wlicn tiicir deaths be ncerc. 
No ncwes but health from their Phifitions know. 
For if I fhould difpaire I fliouidgrow madde. 
And in my madncflc might fpeakc ill of thee. 
Now tbis ill wrefting world is grownc fo bad, 
Maddc flandcrers by madde eares bclccucd be. 

That I may not be fo, nor thou be lyde, (w'lda, 

Bcarc thine eyes flraight , though thy proud heart goc 
141 

IN faith I doe not lone thee with mine eyes. 
For they in thee a thoufand errors note. 

But 'tis my heart that loues what they difpife. 

Who in difpight of view ispfeafd to dote. 

Nor are mine cares with thy toungs tune delighted, 

Nor tender feeling to baft touches prone. 

Nor tafle, nor imell, defirc to be inuited 

To any fcnfiiall feaft with thee alone •• 

But my fiue wits,nor my fiue fcnces<an 

Difwade one foolifh heart from feruing thee. 

Who leaucs vnfwai'd the likcneffe of a man. 

Thy proud hearts flaue and vaffall wretch to be : 
Oncly niy plague thus farre I count my gainc, 
That (hi that makes mc nnne,a\vaids mcpaioe. 



I 



FRANCIS BACON 159 



Shake-spbarb* 

142 

LOue is my finne.and thy dearc vcrtue hate, 
Hate of my finoCjgroundcd on finfull louing, 
O but with mine, compare thou thine owne flace. 
And thou (halt finde it meVrits not reproouing, 
Or if it do, not from thof "e hps of thine. 
That haue prophan'd their fcarlet ornaments. 
And fcald faJfc bonds of loue as ofi as mine, 
Robd others beds reuenucs of their rents. 
Be it lawful] 1 loue thee as thou lou'll thofe, 
Whome thine eyes wooc as mine importune thee, 
Rootc pittie in thy heart that when it growcs. 
Thy pitty may dcferue to pittied bee. 

If thou dooft fceke to haue what thou dooft hide, 

By felfe example mai'll thou be dcnide. 

rOc as a carefullhufwife runnes to catch, 
*One ofhcr fethcred creatures broakeaway. 
Sets downe her babe and makes all fwift difpatch 
In purfuit of the thing flie would haue flay: 
\yiii!(t her neglc(5led child holds her in chace. 
Cries to catch her whofc bufie care is be^c, 
To follow that which flics before her face: 
Not prizing her poore infants difcontent; 
So runft thou after that which flies from thctf, 
Whilft I thy babe chace ihce a farre behind. 
But if thou catch thy hope turnc back to me: 
And play the mothers part kifl'c me,be kind. 
So will I pray that thou maift haue thy w7/7. 
If thou turne back and my loudc crymg ftill, 

'44 

TWolouesIhaueofcoiTvfort anddifpairtfi 
Which like two Ipirits do fugieii me ftill. 
The better angcll is a man rii^ht fairc: 
The worfer fpirit a woman coUour'd il. 
To win me foone to bell my fctnall cmlf, 

Temptctb 



160 



SOME ACROSTIC SIGIS^ATURES OF 



Signature 23. 

This acrostic is found in the 52d Sonnet by ShakesjDeare. 

Begin to read from the initial B of the word ' Being,' which is the 
first word of the hist Hne; to the right; upwards; on the initials of 
the words; spelling Bacoxo, you Avill arrive at the capital O of the 
corresponding indent of the first line. 

Note the plan of the indents : — 

O 



C 



B 



B 
B 

The acrostic figure here is : — 



O 

N 
O 

c 

A 
B 



The outer letter of the upper in- 
dent is 0, and the outer letter in 
the lower i?ident is J3, with which 
we began the acrostic. 



FRA:ffCIS BACON 161 



Shakc-spiaxbs. 
More (Tiatpc to mc then (purring to his fide. 
For thac Umc gronc doth put this in my minJ* 
My grccfe lies onward ana my ioy behind. 

51 

THus can my louc cxcufe the flow offence. 
Of my dull bearcr.vvhen from t'icc I fpecd, 
From where thou art.why flioulld I hali mc thence. 
Till I returnc ofpofting is noenecd. 
O what excu(c will iny poorc bcaft then find, 
When fvvift extremity can frcme but flow, 
Then fliould I fpurrc though mounted en the wind. 
In winged Tpeed no motion flia'1 1 know, 
Then can no l.orfe with my defire kccpc pace, 
Tliercrorcdcfirc('orperrc(ftsIoiie being niadej 
Shall :ia'gh noe dull flcfli in his fiery race. 
But louclor loLiCjthns fliall cxcufe my iade, 
Since from thee going.hc nent wilfuil flow. 
Towards thee ile run,and giuc him Icauc to gee. 

SO am I as the rich whofe blefied key. 
Can bring him to his fwect vp-locked treafiire. 

The w hich he v\ ill not cu'ry hower furuay. 

For blunting the fine point of fcldomepleafure. 

Therefore are fcafts To foUemne and fo rare, 

Since fildom comming in the long ycarc fet, 

Like flones of worth they thinly placed arc, 

Qi captaine lewellsinthe carconct. 

So IS ihe time that kecpcs you as my chcft. 

Or as the ward-robe w hich the robe doth hide, 

Tom2kefomefpei.iallinftant|pccia!Iblcft, 

By new vnfouloing his impri/on'd pride. 

Bleffcd are you whofe worthincfl'c giues skope, 
Being had to tryumph,bcing lackt to hope. 

T7 \ /Hat 13 your fubflancc.whercofare you made, 

That niiliioiis of flrangc fhaddowes oo you tend? 

Since 



162 



SOME ACROSTIC SIGI^^ATURES OF 



Signature 24. 
This acrostic is found in the 71st Sonnet by Shakespeare, (p. 165). 

Begin to read from the initial IN of the first word of the first fine ; 
to the right; downwards; on ail the letters of all the words; spelling 
NoCAB Eenohtna ( = ' Anthonie Bacon,') you will arrive at the initial 
A of the first word of the last line. 



The acrostic figure here is: 



Noe Longer mourne, etc. 

O 

C 

A 

B 

E 

I 

O 
H 
T 

:n" 

And mocke you, etc. 



Signature 25. 
This acrostic also is found in the 71st Sonnet, (p. 165). 
Note the plan of the indents : — 



O 
T 



G 



B 



L 



Begin to read from the capital O of the upper indent; to the right; 
downwards on all the letters of all the words; spelling Onocab 
OmoTNA ( = * Antonio Bacono'), you will arrive at the capital A of 
the outer, lower indent. 



FRANCIS BACON 163 

The acrostic figure here is : — 

'Oe Longer mourne, etc. 



N 



N 

O 

C 

A 

B 

O 

I 

N 

O 

T 

N 

And mocke yon, etc. 

Signature 26. 

There is still another acrostic in this 71st Sonnet. 

Note that there is but one letter F in the top line of the sonnet, 
and that the last letter of the last line is the N of the word ' gon.' 

Begin to read from the only F in the top line; to the left; down- 
wards; on all the letters of all the words; spelling Ffrauncis Bacon, 
you will arrive at the letter N of the word ' gon,' which is the last 
letter of the last line. 

The acrostic fiorure here is : — 



N 



Oe Longer mourne For 
F 
R 
A 
U 
N 
C 
I 

s 

B 
A 

C 
O 

goN. 



Signahcre 27. 
There is still another acrostic in this 71st Sonnet. 

Begin to read from the initial JAI of the first word of the first 



164 SOME ACROSTIC SIGNATURES OF 

line; to the right; downwards; either on the initials, the terminals, or 
on all the letters of all the words ; spelling Nocab ( = ' Bacon '), you 
will arrive each time at the initial B of the word 'But,' which is the 
first word of the 12th line (i. e. the lower overhanging initial). 



The acrostic figure here is : — 



N 



O 
C 
A 

But let your loue, etc. 

Begin to read from the initial J^ of the first word of the first 

line; to the right; downwards; on all the letters of all the words; 
S2)elling Nocab, you will (as we have already seen) arrive at the 
initial B of the word ' But ' (12th line). 

Begin again to read from the letter N of the word ' gon,' which 
is the last letter of the hist line; to the left ; upwards; on all the let- 
ters of all the words; spelling Nocab, you will again find yourself 
at the initial B of the word ' But,' thus keying the signature from 
both ends of the string of letters to a common point. 

The acrostic figure here is : — 



N 



O 

c 

A 

But let your love, etc. 
A 
C 
O 

The reader will judge for himself whether this sonnet is addressed 
to Anthonie Bacon by his brother ffrauncis Bacon, or is written by 
Anthonie Bacon and addressed to fframicis. We know that Francis 
Bacon was threatened with assassination during the rebellion of 
Essex (letter to Sir Robert Cecil: Spedding, vol. ix, p. 162); and it 
is worth observing that in the 74th Sonnet the writer says : — 

'my body being dead. 
The coward conquest of a wretches knife.' 



FRANCIS BAC0:N^ 155 



Sm 



ASB-SPEAtES 



70 

T'Hat thou are blam'd Hiall not be thy dcfc<fl, 
^ For flandcrs markc uas cucr ) ct the fairc. 
The ornament ofbeauty is lUrpcwl, 
A Crow that flics in hcaucnj Iwccteft ayre. 
So thou be good,nandcrdoth but approue. 
Their worth the greater bcciiig v\ oo d of time. 
For Canker vice thefwecteft buds doth loue. 
And thou prefent'H a pure vnftay ined prime. 
Thou haft part by the ambufhofyoungdaieJ, 
Either not aHay Id,or vi(ftor beeing charg'd. 
Yet this thy praife cannot be foe thy prure,' 
To tyc vp enuy,currTnorc inlargcd, 

Jf iomc fufpcct ofiil maskt not tHy n^ow, 

Tlien thou alojjc kingdomes of hcaru fliouldflowc,' 

7» 

T^Oc Longer mournc for me when I «m dead, 

* ^Thcn you (hall heare the furly fullen bell 

Giuc warning to the world tliat I am fled 

From this vile world with vildeft wormcs to dwell: 

Nay ifyou read this linc,rcmembernot. 

The hand that writ it/or I loue ycu To, 

That I iayourfweet thoughts would be forgot, » 

If thinking on me th.en fliould make you woe. 

Oiffi fayjyoulookevpon thjs vcrfc. 

When I fpcrhaps) compounded am with clay. 

Do not To much as my poorc name rclicrft; 

But let vour loue eucn with my life decay, 

Lcart the wife world Hjould lookc into your moae> 

And mocke you with mc after I am gon. 

72 

OLcad the worM fliould taske you to recite, 
'Ai'.'ut merit hu'd in me that you flmuld loue 
After my Jcath^dearc loucXorgct mc quite, 
F »r yon in -nr en nothing worthy proue. 
V.ilciTc you WUU.V1 dcuifc Tooie vcrmou> iyc, 

To 



166 SOME ACROSTIC SIGI^ATURES OF 

Signature 28. 

This acrostic is found in the 111th Sonnet by Shakespeare. 

!N^ote the large I I, or cipher at the beginning of the sonnet. 

Begin to read from the initial F of the word ' For,' which follows 

the large I I; to the right; downwards; on all the letters of all the 

words ; spelling Fkauncis Bacon, you will arrive at the initial N 
of the word 'name.' 

Continue to read from the N of ' name ' ; to the right, or to the 
left; still on all the letters of all the words; downwards; spelling 
NocAB SiCNUARF, you will ari'ive at the last letter F in the sonnet. 
The signature is thus keyed from the first and the last letter F in 
the sonnet, to the common centre N of the word ' name.' 

The acrostic figure here is : — 



o 



F 
R 
A 
U 

C 
I 

s 

B 
A 
C 
O 

Name. 

O 

C 

A 

B 

S 

I 

c 

N 
U 
A 
R 
Friend, and I assure yee. 



FRANCIS BACON 167 



S O N N B T t» 

Thengiucmewclcomencxtmyhcaucnthebtft, 
Eucn to thy pure and moft moft louing brcfl. 
Ill 

OFor my fake doc you wifli fortune chide. 
The guiltie goddcfle of my hannfuU deeds. 

That did not better for my hfe prouide. 

Then publick meanes which pubhck manners brecdi. 

Thence comes it that my name recciues abraiid, 

An<J almoft thence my nature is fubdu'd 

To what it workes in, like the Dyers hand, 

Pittyme then,and wifhiwcrcrenu'de, 

Whilll like a willing pacicnt I will diinke, 

Potions of Eyfellgainftmy flronginfeftion. 

No bitternefle that I will bitter thinke, 

Nor double pcnnancc to correal corre^ion. 
P.ttiemethendearcfricnd,and I afluieyce, 
Eucn that your pittlc is enough to cure mec. 
Ill 

YOur louc and pittic doth th'imprdlion filf. 
Which vulvar fcandall rtanipt vpon my brow. 
For what care I w ho caJIes me well or ill. 
So you oie-greenc my bad.my good alow? 
You arc my All the world.and 1 muft ftriuc, 
To know my fliames and praifcs from your toungc, 
None clfe to mc,norI to none aline. 
That my (kel'd fence or changes right or wrong> 
In fo profound Abifme I throw all care 
Of others voyccs,that my Adders fence. 
To cryttick and to flatterer flopped are: 
Marke how with my neglcft 1 doe difpence. 
You are fo Urongly inmypurpofe bred. 
That all the world bcfides me thinkes y'axc dead. 

Clnce I left-yott-.mlne eye is m my minde. 

And that which goucmes me to goc about. 
Doth paic his fuodtioo^and ispartly blind, 

Scemes 



168 



SOME ACROSTIC SIGNATURES OF 



Signature 29. 

This acrostic is found in the 152d Sonnet by Shakespeare. 
Note the plan of the indents : — N 



B 



I 



O 



F 

T 



Begin to read from the capital X of the upper indent; to the right; 
downwards; on all the letters of the words; spelling Nocab, you 
will arrive at the initial B of the word ' But,' which begins the next 
line. The acrostic figure here is : — 

O 

c 

A 

But thou art twice, etc. 

Signature 30. 

The following acrostic is also found in this 152d Sonnet. 

Begin to read from the initial F of the word 'For' in the lower 
indent; to the right; upwards; on all the letters of all the Avords; 
epeUing Francisconocab, you will arrive at the initial B of the 
word 'But' in the corresponding place in the upper indent. 

The acrostic figure here is: — But thou art, etc. 

A 
C 
O 

dOe I accuse thee, 
C 

s 
I 
c 

N 
A 

R 

For I haue sworn, etc. 



FRANCIS BACON 169 



SHAKB-S»f ARES 

But ryfing at thy namedoth point out thee, 

As his triumphant prlzfiproud of this pride, 

HeiscontcntedthypooVe drudge to be 

To nandin thy affaires.fall by thy fide. 
No want ofconfcicncc hold it that 1 call, 
Hcrloue.for uhofedcarelouc IrifcaiKi fall, 

INlouing thee thou kpow"ft I am forfwornc, 
But thou art twice forfworne to mc lone Avearirtg, 
In aft thy bed-vow broake and new faith tornc. 
In vowing new hate after new louc bearing: 
But why oftwoothcs breach doe I accufc thee, 
When 1 brcakc twenty:! am periur'd moO, 
Forallmy vowesarcothes but to mifufe t!icc; 
And all my honcfl faith in tlicc is loff . 
Fori hauefworne deepcoihcsofthy deepckiiidnefle: 
Othes of thy louc,thy truth.thy conrtancic, 
And to inhghten thee gauc eyes to blindnefle. 
Or made them fvtercagainft the thing they fee. 
Fori hauefworne thc-efair^rinorcperiurdccye. 
To fwerc againft the truth fo foulc a He. 

Cr/7/^Iaid by his brand and fell a fleepe, 
A maide o^Dyans this aduantagc found. 
And his louc-kmdiing fire did quickly ftecpc 
Inacouldvallie-fountaincof that ground: 
Which borrowd from this hohe fire of loue, 
A dateleffe Iiucly heat ftill to indure. 
And grew a feething bath which yet men proue, 
Againft ftrangmalladics afoucraignccurc: 
But at my milhcs eic loues brand new fired , 
Thc.boy for triallneedcs would touch my brcft, 
I fick withall the hclpe of bath dcfircd. 
And thethct hied a fad diftempcrd gucll. 
But found no cure ,»hc bath fot my heipe lies. 
Where ^«5p«f goiucw fire;my raillxcs eye. 



170 



S03IE ACROSTIC SIGNATURES OP 



Signature 31. 

This acrostic is found in a sonnet, the first line of which runs : — 
' If Loue make me forsworn, how shal I swere to loue ? ' 
It is the fifth poem in The Passionate Pilgrime, by "\V. Shakespeare, 
pubHshed byW. Jaggard in 1599. It is also to be found in the Quarto 
edition of A Pleasant Conceited Comedie Called Loues labors lost, 
by W. Shakespere, published in 1598. (See pp. 172-73.) 

I print a facsimile of the page in the Quarto, as well as a facsiniile 
of the sonnet as it appears in The Passionate Pit grime. Both facsimiles 
are given because there is no acrostic in the sonnet as it is printed in 
the Quarto, while there is one in it as it is printed in The Passionate 
Pilgrime. The reader Avill have little difficulty in seeing what changes 
were made in the sonnet in order to throw a signature into its latest 
form. -_- 

Here again the big initial I is ignored, and the words m the brack- 
ets are also excluded : viz. (not to anger bent), and (thunder). 



Xote the plan of the indents : • 



F 

O 



T 



W 



Tlie outer Utter in the upper 
indent is F', and the outer 
letter in the lower indent is T. 



c 

T 

Begin to read from the capital F in the upper indent; to the right; 
downwards; on all the terminals of all the Avords, except the words 
in brackets ; clear through the sonnet and back again ; spelling Fran- 
cisco Bacoxo, 3'ou will arrive at the capital O, which is the imier 
capital of the upper indent. The acrostic figure here is: — 



/ 



J 



F- 
O 



\ 



N 



\ 



V 



B 



/ 



/ 



FEANCIS BACON" 171 

Again, begin to read from tlie same capital F in the upper indent; 
to the right; downwards; on all the letters of all the words, except 
those w^ords in brackets, viz. (not to anger bent) and (thundei*) ; spell- 
ing Francis Bacon Invenit, you will arrive at the capital T, 
which is the outer capital of the lower indent. 

The acrostic figure here is : — • 

IF Loue make me forsworn, etc. 
R 
A 

]!^ Note that the letter Vused in 

Q this signature is found in the 

J word ' voice.' In this case the 

4, letter U is not used as a V. 

O This acrostic can be read only 

B by using this one necessary V. 

A 
C 
O 

I 

N" 

V 

E 

K 

I 

To sing heauens praise, etc. 

This acrostic is peculiar, in my present experience, inasmuch as 
it seems as if the cipherer had found it difficult, or objectionable, 
to make further changes in the original sonnet, and had resorted to 
brackets in order to exclude letters which were in the way of an 
acrostic. It is peculiar also in that all letters U are passed over in 
favour of the letter V of the word ' voice,' needed in the sjoelling 
of the word Invenit. 

Bracketed words are so common in seventeenth-century books 
that a cipherer might be expected to see how easily they could be 
used without attracting unnecessary attention. 



172 SOME ACROSTIC SIGNATURES OF 



t^ 'pUafiKt conceited Comedie: 

I.nt(r lAquinetu and the Clomte. 

Tdijuenetta. God giue you good morrow M.Pcrron. 

^aih. Mairter VixCon.qu.ift Perfon? And ifonefliouldc 
.be perll,Which is the one/ (head, 

Clo. MarrieM.Scholemaflcr.hethatisliklefttoa hoggs. 

Nath. Of perfing a Hogshead, a good luttcr of concei: 
in a turph of Earth, Fier enough for a Flint, Pearle enough 
for a Swine : tis prettie,it is well, 

Ia<jtie. Good M.Parfon be fo good as readme this letter^ 
it was geuen me by Cofiard,ind fent me homDonAmMth: 
Ibefeechyouieadit, 

Nath. Rtcileprecorge/lid^, qiimdoftcas otfwUfuh vmhra rit- 
nwiat, and lb fborth. Ah good oldc Af(wtiian,l may (peake 
of thee as the trauciler doth ofVenice,vemchie,Mencha,<]iunin 
te vndc, que mn te terreche. Qlde Maraium, olde ^£eitim. 
Who vnderftandeth thee not,Ioues thee not,w refil/a mi fk: 
Vnder pardon fir. What arc the contcntes.'orrather asflf- 
race &yes in hiSjWhatray foule verfcJ* 

^clf. 1 fir, and verj' learned, 

T^th. Letmc hcareaftaffc,3flauze<averrc,L^fi^w«.v 
If Loue make me forfworne,how fliall I fweare to louc} 
Ah ncuerfayth could hold, yfnot to beautie vowed. 
Though to my felfe forfworne, to thee He faythfiill proue, 
Thofethoughts to me were Okes.totheehke Oilers bowed 
Studie his byasIcaues,andmakcs*hisbooke thine eyes. 
Where all thofepleafures liue,diat Art would coii^rchcnd. 
If knowledge be the msrkcjto know thee fliall fuffife. 
Well learned is that tonguc.that well can thee commen(I# 
All ignorant that roule,that fees thee without wonder. 
Which is tomee foroe prayfe,that I thy partes admire,^ 
Thy etc A»««lighttungbcares,thy voyce his dreadful thuder 
Which not to anger bentjismufique, and fweetefict. 
Celefliall as thou aitjOh pardon louc this woug, 
That /ingesheauensprayfc, with fuch an earthly tong. 

'Pe^Mj. Youfindcnottheapoflraphas,and Co miUc the 
accent. Lamefuperuifc thccangenet. 

^'ub. Here arc OQely numbers tatcficd, but for tbeele* 



FEAXCIS BACOX 



173 



I 



F Loue make me tbrf*orn, how (hal I fwere to loue? 

O, neuer faiih could hold, if do: co beauty vowed ; 
Though to my felte forf,vorn, to dice He conftam prouc, 
ihofe thoghts to mc like Okes,to thcc like Oders bowed. 
Sruddy his byas leaues, and makes his booke thine ties, 
where all thofe pleafures liue, that Art can comprehend- 
If knowledge be the markc,to know thee fliall fuffice : 
Wei learned is that toung that well can thee commenj, 
Ail Ignorant that fou!c,that fees thee without wonder. 
Which is to mefome praife, that I chy paits admyre : 
Thineeycloucs lightning fcemSjthy voice his dreadMl 
vhich(not to anger bcnt)is mufick & fwcet firc( thunder 

Celcftiall as thou an, O, do notlouc that wrong ■ 

Tofingli£auensptail"e,wiihfuchan earthly tout^ 



174 so:me acrostic signatures of 

Signature 32. 

This acrostic is found in a sonnet, the first line of which runs : — 

' If Musicte and sweet Poetrie agree.' 

It is the eighth poem in The Passionate Pilgrime,hj^ . Shakespeare, 
pubUshed hj W. Jaggard in 1599. It has been ascribed by some to 
Kiehai'd Barnfield, because it was printed in 1598, in Poems: in diners 
humours, which is the fourth and anonymous section of a vohmie the 
first section only of which bears Barnfield's name on its title-page. 
The three remaining sections have sepai-ate title-pages, and each of 
the three is anonymous. (See Arber's i-eprint in The English Schol- 
ar's Library : The Encomion of Lady Pecunia, by Richard Barnfield.) 

Here again the big initial I of the first line is ignored. 

Xote the plan of the indents: — 

IFIMusicke, etc. 
A 



T 



^^ 



O 
O 



I ne Knight loues Both, etc. 

Begin to read from the capital Oof the word 'One'; to the right; 
upwards; on all the letters of all the words; spelling backwards 
Onocajb Ocsicxarf, you will arrive at the capital F in the word 
JF 
M which is the outer capital of the upper indent. 

The acrostic figure here is: — 

IF Musicke and sweet Poetrie agree, 
R 
A 
N" 
C 
I 

s 
c 
o 

B 
A 
C 
O 

N 

One Knight loxies Both, etc. 



FRANCIS BACO:?^ 175 




f F Mulicke and fweet Poetrie agrf e, 
Ms they muft needs (the Sifter and thebroiher) 
Then muft the lone be great twixt thee and me 
Bcciu(e thou lou'ft the one, and 1 the other. 
Dowland to thee b deere, whofc heauenly tuch 
Vpon the Lute, dooth rauifh humane fenfe; 
Speiifer to me, whofedeepc Conceit is fuch. 
As pafsing all conceit, needs no defence. 
Thou lou ft to heare tlicUvect melodious found, 
That Phoebus Lute (the Quecne of Muficke) makes s 
And I in decpe Delight am chiefly drownd. 
When as himfelfe to finging hebetakes. 
One God is God of both (as Poets faine) 
One Knight loues Both, and both in thee remaine. 




It is to be observed that there is still another acrostic in this sonnet. 

Read from the letter N in ' remaine ' (the last word in the sonnet) ; to the right, 
or to the left; upwards; on all the letters of all the words; spelling Nocab 
SicxtJARF (Frauncis Bacon), you will arrive at the capital F of the outer indent 
at the head of the sonnet. Compare this with the next signature in A Loner's 
Complaint, in which the silent 'e 'is not used in the word 'raine.' 

The acrostic figure here is : — 

TF 

-L R 

A 
U 

N 
C 
I 

s 

B 
A 
C 

O 

remaiNe. 



176 SOME ACROSTIC SIGNATURES OF 

Signature 33 {A Louer^s Comjylaint). 

This acrostic is found in the first stanza of A Lauer's Complaint, 
which was appended to the Sonnets in the edition of 1609, and is 
there printed over the signature of William Shake-speare. 

Treat the whole of the first stanza as if it were a continuous string 

FR 
, A 

Note that at the front end of the string will be the initial F of the 
monogram, and that the letter at the other end of the string will be 
the lettei- N of the word ' raine.' Ignore the silent letter ' e.' 

Begin to read on the letter N in the word 'raine'; to the left; up- 
wards ; spelling backwards Nocab Sicnarf, you will ai-rive at the 

FR 
A, and at the beginning of the 

string of letters composing the stanza, with the exception of the 
silent 'e,' which is seemingly used here as a blind. 
The acrostic figure here is : — 



F 



Rom 
A 

C 
I 

s 

B 
A 
C 
O 



Ne. 



This is to be classed as a ' weak ' acrostic, as it ignores the final 
'e' and begins on the second letter from the end. Compare it Avitli 
the acrostic by Yillon, given on page 55, in Avhich Villon ignores 
the refrain, and does not object to an extra i in his name. 

This poem contains forty-seven stanzas. Turn to the edition which was printed 
■with the Sonnets in 1609, and from which the above stanza is reproduced. Begin 
to read from the initial V of the first word of the first line ; to the right ; down 
through the poem ; treating all lines as a string of letters, in the usual way ; using 
the capital letters only ; spelling Fravncis Bacox, you will arrive at the initial N 
of the first word of the first line of the twenty-fourth stanza. 

Begin to read from the initial A of the first word of the last line of the last 
stanza in the poem ; to the right ; up through the poem ; on the capital letters ; 
spelling Anthoxie Bacon, you will again arrive at the initial N of the first word 
of the first Une of the twenty-fourth stanza. 



FEAJ^CIS BACON 177 

A Louers complaint. 
sr 

William Shake-spjari. 

FRom offa hill vvhofe concaue wombe reworded, 
A plaintfull (iory from a fiftring vale 
My Tpirrits I'attcnd tliis doble voycc accorded^ 
And downc I laid to lift tlie fad tun'd tale. 
Ere long cipied a fickle maid fiUI pale 
Tearing of papers breaking rings a twaiiie, 
Stonning her world widi forto wes, wind and raine. 

Vpon her head a plattld hiue of ftravv, 

■Which fortified her vifage from the Sunne, 

Whereon the thought might thinkc fometimc h Taw 

The carkas of a beauty fpent and donnc. 

Time had not fithcd all that youth begun. 

Nor youth ail quit.but /pight of heauf ns fell rage, 

Some beauty pccpt,tlirough Ictticc of leat'd age. 

Oft did fhc hcaue her Napkin to her cync. 
Which on it had conceited charccters: 
Laundnng the fijken figures in the brine. 
That feafoncd woe had pelleted in teares. 
And often reading what contents it beares: 
As often fliriking vndiflinguifht wo. 
In clamours of all fizc both high and low. 

Some-times hcrleucld eyes their carriage ride, 
A» they did battry to the fphercs intend; 
Sometime diueried their poore balls arc tide, 
To th'orbcd earth ;fometimcs they do extend. 
Their view right on, anoa their gafcs lend. 



178 SOME ACROSTIC SIGNATURES OF 

Signature 34. 

This is another acrostic from the edition of jjoems published in 
1640, and entitled Poems ivrMen l»j Wll. Shakespeare. Gent. 

Xote the monogram at the head of the first stanza and the initial B 

of the first word of the last line of the poem. Thev are: — X^ 

B 

Beofin to read from the initial F of the first word of the first line ; 
to the right; doAATiwards ; using all the letters of all the words; spell- 
ing Fkancisco, yon will arrive at the letter O of the word ' How,' 
at the beginning of the 9th line of the poem. 

Xow reverse the order. Begin to read from the same letter O of 
the word ' How ' at the beginning of the 9th line of the poem ; to the 
left; in the reverse direction ; still downwards; using all letters of 
all words; spelling backwards Oxocab, you will arrive at the initial 
B of the word ' Bad,' thus keying the signature Fra>.'CISCONOCab, 
i. e. ' Francisco Bacono,' from the first letter F of the first line to 
the first letter B of the last line. 

The acrostic figure here is : — 



F 



R 
A 

]sr 

c 

I 

s 

c 

HOw many tales, etc. 
N 
O 
C 
A 
Bad in the best, etc. 



FRA^XIS BAC0:N' 179 



He fp) ins her, bounft in (whereas he fiood^ 
Oh love ((guoth (ht) why wa* not I a flood ? 



7beunconJiant Lover, 

P Aire 13 my lovc.but not fo faire as fickle, 
Wilde as a Dovc,but neither true nor trufile. 

Brighter then gliffcjand yet as glafle is brittle. 

Softer then wax,and yet as Iron rufty > 
A lilly palcjwith damaske die to grace her. 
None fairtr,nor none falfer to deface her. 

Her lips to mine how often hath (he joyned, 
Betwecneeachkiflc hcroathesoftriie love fwear/ng ; 
How many tales to pleafe me hath (he coyned, 
Dreading ray love.the loffe thereof ftill fearing. 
Yet in the midft of all her pure proteftings. 
Her faithjher oathe$,hcr tearea,and all were jeaftingi. 

She burnt wichlove, as ftraw with fire flameth. 
She burnt out love, as foone a$ ftraw out burneth; 
She fram'd the love, and yet (he foyld the fiaming. 
She bad love Iaft,and yet (he fell a turning. 
Was this a lover,or a Letcher whether t 
Bad in the beft,though excellent in neither. 



( The Unconstant Lover) 



180 SOME ACEOSTIC SIGNATURES OF 

Signature 35. 

This acrostic is found in the ' Threnos ' of The Phcenix and the 
Turtle, which appeared over the signature of William Shake-speare, 
in a book by one Robert Chestei', pubUshed in 1601 , under the fol- 
lowing title (see p. 182) : 

Love's Martyr; or Rosalyn^s Complaint. AUegorically shadowing 
the truth of Love, in the constant Fate of the Phcenix and Turtle. 
A. Poem enterlaced with much Varietie and Raretie; now first trans- 
lated out of the venerable Italian Torquato Caeliano, hy Robert 
Chester. With the true legend of the famous King Arthur, the last 
of the nine Worthies, being the first essay of a new British jioet; 
collected out of divers authentical Records. To these are added some 
new compositions, of several m,odern writers whose names are sub- 
scribed to their several works, upon the first subject: viz, the Phoenix 
and Turtle. 

Among the authors of the added compositions are Marston, Chap- 
man, Ben Jonson, and 'Ignoto.' This part of the book is introduced 
with a sei^arate title-page which runs : — 

Hereafter follow diverse poeticall JEssaies on the former subject, viz, 
The turtle and Phoenix. Done by the best and chief est of our mod- 
ern writers, loith their names subscribed to their j)cirticidar worTcs; 
never before extant : And now first consecrated by them all gener- 
ally to the love and merit of the true-noble Knight Sir John Salis- 
burie. Lignum laude virum Musa vetat mori. MDCI. 

Shakespeare's share in this book has given rise to much theory 
among some scholars, but as they have been unable to produce docu- 
mentary evidence to give validity to their inferences, we must be con- 
tent to accept the work on the strength of its own title-pages, which, 
by the way, are plain enough in their meaning, so fai' as they go. 

Shakespeare's ' Threnos ' to The Phoenix and Turtle is printed on 
a page by itself, in the edition prepared for The New Shakespeare 
Society'^s Publications, hj Grosart. As I have been unable to see the 
original I have been obliged to use Grosart's edition, which is said 
to be an exact reproduction of the spelling of the original. 

Note that the initial of the first word of the first line of the ' Threnos ' 

is -13, and that the initial of the first word of the last line is F. 



FRANCIS BACON 181 

Here we have the hiitials J3. F. to guide us. (See p. 182.) 
Begin to read from the initial F of the word ' For,' at the beginning 

of the last line of the poem; to the right; on all the letters of all the 

words; upwards; spelling Fkancisco, you will arrive at the letter O 

of the word ' not,' in the middle line of the poem. 

Now reverse the order. Begin to read from the same letter O of 

the same word ' not,' in the middle line of the poem ; to the right ; 

that is to say, in the reverse direction; still upwaixls, however; and 

spelling backwards Oxocab, you will find yourself at the initial X3 
of the first word of the fii-st line of the ' Threnos.' 

Here we have the signature 'Francisco Bacono,' written con- 
secutively as an acrostic, but to be read as a signature from the initial 
of the first word of the last line, and from the initial of the first word 
of the first line, and meeting in the middle of the jioem on the same 
letter O. 

The acrostic figure here is : — 

(Eautie, Truth, and Raritie, 



B' 



A 
C 
O 

N 
Twas nOt 
C 
S 
I 
C 
N 
A 
R 
For these dead Birds, etc. 



182 SOME ACROSTIC SIGNATURES OF 

Threnos 

BEautie, Truth, and Raritie, 
Grace in all simplicitie, 
Hei-e enclosde, in cinders lie. 

Death is now the Phoenix nest, 
And the Turtles loyall brest, 
To eternitie doth rest. 

Leaning no posteritie, 
Twas not their infirmitie, 
It was married Chastitie. 

Truth may seeme, but cannot be, 
Beautie brag-ge, but tis not she, 
Truth and Beautie buried be. 

To this vrne let those repaire, 

That are either true or faii-e, 

For these dead Birds, sigh a prayer. 

William ShaTce-speare. 

This copy of the poem I have collated with the text of a reprint as 
it appears in the edition by Grosart in The New Shakespeare Society'' s 
Publications. I have been unable to see a copy of the original. 



FKANCIS BACON 183 



CHAPTER VIII 

'DOUBTFUL' VLAY^ — PERICLES, PRINCE OF TYRE; TWO 

NOBLE KINSMEN 

Note. — The facsimiles are approximately of the same size as the originals. 

Signature 36. 

This signature is found on the last line of the first page of TJie 
Late and much admired Play, Called Pericles, Prince of Tyre, as 
it appears in the fii'st known quarto edition, published in 1609, 
The last line runs : — 

' Bad child, worse father, to entice his owne.' 

Begin to read on the initial B of the first word of the line; to the 
right; on all the letters of all the words; spelling Bacono, you will 
arrive at the initial O of the word 'owne.' (See p. 187.) 

The cipher thus runs from the initial of the first word to the initial 
of the last word, thus : — 

BAd Child, wOrse father, to elS"tice his Owne. 

BA.C O N^ O... — Bacono. 

Compare this signature with that in the Hamlet Quarto. 



184 SO^IE ACROSTIC SIGNATURES OF 

Signature 37. 

This acrostic is also found on the first page of Tlie Play of Pericles, 
Prince of Tyre. (See p. 187.) 

Begin to read from the terminal F of the word ' of,' in the title, 
which is above the text of the play; to the left; downwards; on the 
terminals of all the words on the page; spelhng Frauncis Bacon, 
you will arrive at the terminal N of the word ' owne ' (the silent ' e' 
is ignored, as in other cases). 

The acrostic figure here is : — 

The Play oF Pericles 
R 
A 
U 
N 
C 
I 

s 

B 
A 
C 

O 

his owN^e. 



FRAIN^CIS BAC0:N' 



185 



THE LATE, 

And much admired Play, 

Called 

Pericles, Prince 

of Tyre. 

Wich the true Relarion of the whole Hificrie, 
aducntures,and fortunes of the faid Prince : 

Asa!(b, 
The no lelTe llrange,and worthy accident?,, 
in the Birth and Life,of his Daughter 
tMAKlAN A, 

As it hath been <Iiuers and fundry times aftcd byi 
his iViaieftics Seruant$,at the Globe oa. 
gt^^ theBanck-fidc. .^fe,„^^. 

By William ^^ 5hakcJf>eare. 




lirprinteJ at London (oi Henry C^^^, and ate 
to be fold a t the ITgne of tht Simne in 

Patcr-norterrow, &C 
J 6 o 9, 



FEA^xis baco:n^ 



187 





The Play of Pericles 

Prince ot ryre,&:c. 
Enter Cower. 

O fing a Song that old was fung, 

From ailics.auntientG'cwo'iscoine, 

Afiumingmans infirmities. 

To glad your carc,andpleafe your eyes ; 

It hath been fung atFeaftiuals, 

On Ember eues,and Holydayes : 

And Lords and Ladycs in their kues, 

Haucredit forreftoratiucs : 

The purchafe IS to make men gloriouS) 

Et honuT» ^uo j4>}ticjuim eo melitu : 

If yoUjborne in thofe latter times, 

When Witts more ripe, accept my riraes} 

And that to hearc an old man fing, 

May to your WiOiespleafure bring : 

I life would wifli, and that I might 

Wafteit for you, hke Taper light. 

This Antiuh,t\itn v4»/wcfc«j the great, 

Buylt vp this Citie,for his chiefeltSeatj 

The fayrefl in all Syria. 

I tell you what mine Authors faye: 

This King vnto him tooke a. Peere, 

Who dyed.and left a female heyre. 

So buckfonie,blith,and full of face. 

As heauenhadlent her all his grace : 

With V'lhom the Father liking tooke, 

And her to Incefl; did prouoke : 

Bad child,worfe fathcr,to intice his owne 

A 2. 



188 SOME ACEOSTIC SIGNATURES OP 

Signature 38. 

This acrostic is found in the ' Epilogue ' of the same edition of the 
same play, Pericles, Prince of Tyre. (See p. 193.) 

Note the words 4t which end the lines of the second indent. 

JN ame 

The initials of these words are F and N. 

Begin to read from the initial F of the word 'Fame'; to the right; 
on the initials of the words; upwards; throayhoai the entire epilogue 
and hack; spelling Fravncis Bacon, you will find yourself at the 
initial N of the Avord ' name,' having keyed the cipher. 

The cipher can be keyed also by reading from the same initial F; 
siielling Fravncis Bacon, in the same way, but to the left, 
throughout the whole epilogvie in the contrary direction, you will 
still arrive at the initial N of the same word 'name.' 

The trick has been made easy here by keeping all words with an 
initial N helow the word 'Fame.' A very simple thing to do in such 
doggerel verse, as we often see in prologues and epilogues. 



The acrostic figure here is: 






/ 



A 

\ 






I 

Fame 



S Name 



\ 



A -C 



FEAXCIS BACO:^^ 



189 



Signature 39. 

This 'Epilogue' contains a still more ingenious but very easily 
made acrostic. (See p. 19o.) 

You will note that there ai-e two words 'Finis ' on the page: one 
before the ' Epilogue ' and one after it. 

Let us take the upper ' Finis ' fii-st. 

Begin to read from the initial F of the word 'Finis'; to the 
right; downwards; on all letters of all words below 'Finis'; spelhng 
FravjvX'IS Bacon, you will arrive at the letter N" of the word ' In.' 
Then begin from the same letter J^ of the woi'd ' In '; without chang- 
ing the direction, but spelling backwards, IS^ocab Sicnvakf, you 
will arrive at the initial F of the last word ' Finis.' 

The acrostic figure here is : — 

Reading down through the verse. FINIS. 

R 
A 
V 

c 
I 

s 

B 
A 
C 

O 

IX Helycanus may you well descrie, 
O 

c 

A 
B 

S 
I 

c 

Y 
A 

R 

Frauncis Bacon. FII^IS. 



190 SOME ACEOSTIC SIGNATURES OF 

Signature 40. 

Now let us begin again to i-ead from the initial F of the upper word 
' Finis '; to the right; downwards; on all the letters of all the words; 
spelling Francisco Bacono, you will arrive at the letter O in the 
word 'yOu.' Then begin from the same letter O in the word 'yOu'; 
without changing the direction, but spelling backwards Onocab 
OcsicxARF, you will arrive at the initial F of the word ' Finis,' at 
the bottom of the page. (See p. 193.) 

The acrostic figure here is : — 

Reading down through the verse. FINIS. 

R 

A 
N 
C 
I 

s 
c 
o 

B 
A 
C 
O 

N 
In Helycanus may yOu well descrie, 
N 
O 
C 
A 
B 
O 
C 

s 
I 
c 

A 
R 

Francisco Bacono. FINIS. 



FRANCIS BAC0:N^ 



191 



Signature 41. 

Begin now to read from the initial F of the lower ' Finis '; to the 
right; upwards; on all the letters of all the words; spelling Feavn- 
cis Bacox, you will arrive at the letter IS" in the word ' turXe.' 
Then begin from the same letter N of the word ' turNe,' without 
changing the direction, but si^elling backwards [N^ocab Sicnvarff, 
you will arrive at the initial F of the word ' Finis,' from which we 

(See p. 193.) 



began to read the last signature 



The acrostic figure here is: — 



Reading up through the verse. 



ffrauncis Bacon. 



FINIS. 

F 

R 

A 

V 

C 
I 

s 

B 
A 
C 
O 

turNe, 
O 

c 

A 
B 

S 
I 

c 

V 
A 

R 
FINIS. 



192 



SOME ACROSTIC SIGNATURES OF 



Signature 42. 

Finally, begin to read from the initial F of the lower ' Finis '; to 
the right; upwards; on all the letters of all the words; spelling 
Francisco Bacono, you will arrive at the letter O of the word 
' honOr'd.' Then begin from the same letter O in the word 'honOr'd'; 
without changing the direction, but spelling backwards Onocab 
OcsiCNARFF, you will arrive at the initial F of the upper word ' Finis.' 

The acrostic figfure here is: — 



Heading up through the verse. 



Francisco Bacono. 



FINIS. 
F 
R 
A 

C 
I 

s 
c 
o 

B 
A 

C 

o 

N 
honOr'd name 
N 
O 
C 
A 
B 
O 
C 
S 
I 

c 

A 

R 
FINIS. 



This is the first time that I have found the name Francisco spelled with a 
double " ff." I give it for what it is worth. 



FRANCIS BACON 193 



Per. Hcaucns make a Starrc of him, yrttheftf my 
C^cn< wec'le celebrate their Nuptialls, and our fclucs 
wii in thjtkingdorac fpcnd our following daics,ourfonnc 
and daughter ilial I in T/rw^ raigne. 

Lord Ccriman wee doc our longing ftay 
To heare the reft vntoldc , Sir lead's thc'way. 



FIKIS. 



Cower, 

In Atttiochtu and his daughter you haue heard 
Of monftrouj luft,thc due and iuft reward : 
In PericUj his Qucencand Daughter fcene. 
Although aflayl'de with Fmuue fierce and keene. 
Vcrtueprefcrd from fell deftruftions blaft, 
Lead on by heauen, and crown'd with ioy at laff. 
In f/if^<r^»«/ may you well dercrie, 
A figure of tructh, of faith, of loyaltie: 
In reucrend Cerimon there well appeares, 
TheworththatlcarnedcharitieavcweareSi 
For wicked Clean and his wife, when Fame 
Had fpred his curfed dcede,thchonor*d name 
OfPeric/et, to rage the Cittie turne, 
Tluthimandhis thcyinhisPallaceburne: 
The gods for murder feemdefo content, 
To punilh, Although not done, but meant 
So on your Patience cuermoreattending, 
New ioy way te on you, heere our play ha« ending. 

FINIS. 



194 SOME ACEOSTIC SIG:N^ATUEES OF 

Signature 43. 

This acrostic is found in the 'Pi-ologue' to the first known edition 
of The Two Hoble Kinsmen, pubUshed in Quarto, in 163i — the time 
that Bacon's manuscripts were being prepared for the press by 
Rawley and others. (See p. 197.) 

Here we have a cipher planned and keyed with Avhat seems to be 
unusual care. It was discovered for me by my friend Mr. John 
Maey. 

Note that there is a Florish of trumpets at the top of the page, 
and a Florish also at the bottom. Our attention is therefore attracted 
to each end. 

Begin to read on the initial F of the word ' Florish ' at the top of 
the page; to the right; downwards; on the initials of the words; 
throughout the whole prologue and back; spelling Feavkcis Bacon, 
you will arrive at the initial N of the Avord ' N oblenesse ' in the mid- 
dle of the page (15th line from top). 

Begin to read from the initial F of the word 'Florish' at the hottom 
of the page; to the left; upAvards; throughout the whole prologue 
and back; spelling Fravncis Bacon, you will again arrive at the 
initial N of the Avord ' Noblenesse,' and thus keying the cipher. 

The acrostic figure here is : — 



Florish 




B 


R 


A 


.s 


^ C 




I 


V o 




c 


N 




N 


Q Noblenesse 




V 


I O 
^ C 




A 


S A 




R 


B 




Florish 



Signature 44. 

Begin again to read from the initial F of the word 'Florish' at the 
top of the page of this prologue; to the right; doAAaiAvards ; on the 
initials of the words; spelling Fka Bacon, you will arrive at the ini- 
tial N of the Avord ' Noblenesse.' 

Begin again to read from the initial F of the word 'Florish' at the 
bottom of the page; upAvards; to the right; on the initials of the 
words; spelling Fka Bacon, yon Avill arrive at the initial N of 
the word ' Noblenesse,' having keyed the cipher. 



FRAIS^CIS BACON 195 



The acrostic figure here is : 



Florish 
R 
A 
B 
A 
C 
O 
Noblenesse 
O 
C 
A 
B 
A 
R 
Florish. 



Note that the initial of the first word of the first line of this pro- 
logue is N: and that the initial of the first word of the last line 
isO. 

Begin to read from the initial N of the word 'New,' beginning the 
first line of the 'Prologue'; to the right; downwards; on the initials 
of the words ; spelling Nocab, i. e. Bacon, backwards, you will ar- 
rive at the initial B of the word ' be ' in the line : — 

' And the first sound this child heare, be a hisse.' 

Begin now to read from the initial B of this same word ' be,' con- 
tinuing on this line to the left as you left off; downwards; spelling 
Bacono, you will arrive at the initial O of the word ' Our ' at the 
beginning of the last line. 

The acrostic thus runs from the initial of the first word of the^rs^ 
line to the initial of the first word of the last line. 

The acrostic figure here is : — 



N 



o 
c 

A 

Be a hisse 
A 

C 

o 

N 
Our losses, etc. 



196 SOME ACROSTIC SIGXATURES OF 

_THE 
TWO 

NOBLE 

KINSMEN 

Prefented at the Blackfriers 

by the Kings Maicfties fervants, 
with great applaufe t 

Written by the memorable Worthies 
of their time; 
CM'. John Fletcher^ ^"^^^Gent. 



\yi\ WittiamShdkj^eare. 




Printed at Lovdonhy Tho.Cotes^^ox lohnWaterfon: 
andarc to be fold at the ligne of the Cnvane 
ja FmIi CLurch-yard. 16%^* 



Florifh. 



FRA^^CIS BACON 197 



PROLOGVE. 



NEw Playes^atfd (Maydenf>eads,are ttiare a klft. 
Much followed hoth,for both much mom^Hitf 
Ifthej (lindfoiindyandrveU : And agood Play 
(Whofc modcjl Sceanes blujh on his marriage d4j, 
K^ndfhitke to loo fc his honour) is like hir 
That after holy Tjc,andfir(trnghtsJHr 
Tctfitll is Modejlie,iindftiU ret aims 
More of the maid to fight, than Husbands ptines j 
fVcpray our Play may befo j Fori amfure 
It has anoblcBreeder^andapure, 
A learned,andaPoet never went 
Morefamoui yet twixt Po and fiver Trent. 
Chaucer (ofalladmird) the Story gtves^ 
There conf ant toEternity it lives ^ 
Ifwe let fall the Nohlenejfe of this. 
And the firfl found this child heare, be 4 hiffe, 
Horn will it pake the bones of that good man, 
And make him cry from under ground^ fan 
From me the rvitles chajfc offach 4 rvrighter(Jlightcr 
That blafes my Bayes, and my fanid workes makes 
Then Robin Hood ? This is the fear e we bring; 
Fortofty Trutb^itrverean endleffe thing. 
And too ambitious to a(pire to him ; 
Weake as rveare,andal]nofl breath kfefvim 
In this deepe water. Do hut you holdout 
Tour helping hands, and wefialltake about, 
Andfomethtngdoe to fave us : Toupall heare 
Sceanes though be low his Art^may yet appeare 
Worth two hour es trdvell.To his bones fweetjleepe : 
Content to you. If this play doe not keepe, 
A little dull time fom tts^wepercedve 
Our loffesfallfo thicke,w e rmi'ft needs Uave, 



198 SOME ACROSTIC SIGNATURES OF 

Signature 45. 

This acrostic is found in the ' Epilogue ' to the Two Noble Kinsmen, 
in the Quarto edition of 1634. 

Note the last word of the 'Epilogue,' and the word which follows 

it: they are: "'°1,' . , the initials of which are ^ 
•' Florish. F 

Begin to read from the initial N of the word ' night '; to the left; 
upwards and throughout the whole epilogue and back; on the 
initials; spelling Nocab Sicnuarf, i. e. Fkauxcis Bacon, back- 
wards, you will arrive at the initial F of the word ' Florish,' having 
keyed the cipher. 

The acrostic figure here is : — 



^ s- 

1^ 




/ 


^ 


c 


\ 


/ 


\ 


/ 


c 


N 


1 


\ 


/ 


\ 


o 


v 


/ 




/ 

good Night 


^R 


Elorish 



FRANCIS BACON 199 



EPILOGVE. 

1 Would noxv askeye horvye like the PUy^ 
But as it is mth Schoole Boyes^annotfay, 
I am cruellfearefM : fray yetfiay a whtle^ 
K^ndlet me looke upon ye : No manfmile f 
Then it goes hard I fee ; He that has 
Lov dayonghanfome tvenchthetfJhow his fate: 
Tisfrange if none be heere^ andijhe will 
Agatnji his Confcience let him hijfe, and kill 
Our Market: Tis in vaine, I fee to.fiay yee^ 
Have at the rvorfl can come/hen-^Norv what fay ye ? 
Jindyet mijlake me not: 1 am not bold 
We have nefuch caufe. Jfthe tale we have teld 
(For tis no other) any way content ye) 
(For to that honejl furfofe it was ment ye) 
We have our end j and jejhall have ere long 
i dare fay many a better ^ to prolong 
Tour oldlovestous : we,and all our might, 
Rcfi atyourfervice, Centlemen,good night, 

Flori/h. 



TINIS. 



200 SOME ACROSTIC SIGNATURES OF 



CHAPTER IX 

PLAYS WHICH HAVE APPEARED ANONYMOUSLY, OR OVER THE 
NAME OF CHRISTOPHER MARLOWE 

TAMBURLAINE THE GREATE—THE FAMOUS TRAGEDY OF 
THE RICH JEW OF MALTA 

Signature 46. 

This acrostic is found in the Quarto edition of Tmnhurlaine the 
Greate, published in 1605. (See p. 206.) 

The method of hiding the cipher is pecuharly 'foxy,' for all words 
beginning with an initial' IST have been excluded from the text of the 
first page, thus driving the decipherer over to the next page for 
the point where the names key. At the same time the monograms 
are in full view on the first page. 

We will treat the first page on its own account first; and then the 
first two pages as one block of type. 

Note the monograms on the front page. They are : — L^R 

Begin to read from the initial O of the word ' Of ' at ~ 

the beginning of the last line of the first page; to the — 

right; on the terminals (first and last letters of every word ---^ 

of the text) ; i;pwards ; spelling backwards Onocab, you J^ 
will arrive at the large monogram T>Rother, etc. E 



The acrostic figure here is : — A 

C 



'to' 



o o 

N 

Of Europe, etc. 



Note. — The facsimiles are approximately the same size as the originals. 



FRANCIS BACON 201 

Signature 47. 

Now begin to read from the monogram _I_ at the beginning of 
the text on the first page; to the right; downwards; on the initials 
of the words of the text; spelUng Fkan, you will arrive at the initial 
N of the word ' Now ' at the beginning of the second line of the 
second page. 

Now begin to read from the monogram J3 on the first page ; to 
the right; downwards; on the initials of the words of the text; spell- 
ing Bacon, yon will arrive at the initial N, again, of the same Avord 
' Now ' at the beginning of the second line of the second page. 

The acrostic figure here is : — 



F 



B 



R 

A 
A 

C 
O 

Now to be ruld and governed by a man. 



202 SOME ACROSTIC SIGNATURES OF 

Signature 48. 

We are now over on the second page. (See p. 207.) 

Note that the initials of the first word on the first line, and of the 

"ci Tfor 

first word on the second line are ^vr of the words ^.t 

Begin to read from the initial F of the word ' For '; to the right; 
downwards; on the initials of the words of the text; throughout the 
whole of page 2 and back, upwards, over on to page 1, throughout 
the whole of page 1 and back ; spelling FRAinN'Cis Bacon, you will 
arrive again at the initial N of the word ' Now,' to which we keyed 
the previous signature. 

The acrostic figure here is : — 



X 


\ 


/ 


I 


R 


\ 


/ 


\ 


For 


1 


Now to be ruld 


s 


\ 


1 


\ 
O 


/ 


\ 


B 


\ 




C_ A' 


^ 



Observe that there is no initial N on the text of the first page. 
There is no initial O in the first sixteen lines of the second page. 
There is no initial N in the last twenty-one lines of the second page. 
The first initial U in the text of the second page is of the word 
' uppon ' in the 22d line. 

This plan of excluding obstructive initials, or of placing necessary 
initials where they are needed, is very simple, but it enables a cipherer 
to construct what is, in appearance onl}', a difficult signature or 
acrostic. 

We have here, then, two signatures keyed to the same initial N, at 
the beginning of the second line of the second page. 



FRAi^CIS BACON 



203 




Tamburlaine the 
Grcate. 

VFho, from the jl ate of a Shep heard 
in Scythia y by his rare and 

wonderfull Conqucfls, became 

a mofl puifTant and migbcy 

LMenarque, 




L O N'D O N 

Printed for Edward White, and are to be /bide 

attbe little Northdborcof Saint Paiiics- 

QhHrch^At the fgne oftht Cttftne, 

X 6 o /, 



This title-page is printed that the reader may see that the play was published 
anonymously in its first known edition, 1605. 



204 



SOME ACROSTIC SIGNATUEES OF 





7*0 the Cjentlemen^eaiers and others ^ 

that lake plcafure in reading 

Hiflorics. 

Entlcmen,and curteou^ Readers who- 
focucr: I haue hcercpubbflicd in Print 
for your fakes » this tragicall difcourfc 
of the Scythian Shephcard, Tam- 
berlaine,. that became fogrcataCoa- 
qucrour.and fo mighty a Monarque : My hope is, thac 
it will bee now uo lefTc acceptable vnto you to 
rcade after your lerious affaires ajid ftudies, then ic 
hath bene (lately) dclightftill for maoyc of you to 
fee, when the fame was ihewcd in London vpon^Sta- 
ges: I haue (purpofely) oraiued andlefroutfomc 
fond and ftiuolous jeflures, digrcfDng (and in my 
poorc opinion) faixevnmcc£e for thcmattcr, which I 
ihought.mightfceme morctedious vnto the wife,ihen 
any way elfe to be regardedj though ( bappilyc) they 
haue bene of fome vainc coceitcd fondlings greatly ga- 
ped at , what times they were fhewed vppon the 
Stage in their graced deformities ; ncucrthelefle now, 
to bee mingled in print with fuch mattct of worth, 
it would proouea great difgtacc to fo honorable and 
(lately a Hiftory : Great follyc were it in me, to com- 
mend vnto your wifdomes , ey thet the eloqucce of tf»e 
Authour thac writteit, or tbe worthmcfTeofthe 

A 2 matter 

In view of the prominence given to the word ' Brother,' on the first page of the 
text of this play (see p. 206), it is worth observing that if you begin to read from 
the initial A of the word 'Authour,' which is the first word of the last line of the 
above page, to the right ; upwards ; on the terminals ; spelling Antonio Bacono, 
you will arrive at the terminal ' O ' of the word ' who,' at the opposite upper 
corner of the page ; having traversed the entire page. 



FKANCIS BAC0:N^ 205 



To the Reader. 

matter it fclfet I therefore leauckvntoyour learned 

ccnfures, & my felfe the poore Printer thereof vnto 

your moftc curtcous and fauou table proccftions, 

which if youiVouchCafe todoc,you Ihalleucr 

wore binde me to imploy what trauell 

and feruice I can to the aduaua- 

cing and pleafuring of 

your excellent 

degree. 

Yours mode at com- 
fnandement; 

H. /• Pclnter. 




20G SOME ACROSTIC SIG:NATURES OF 




TRAGI CALL 

Cottquelles of Tamburlainc tbs 
Scythian Shepheard|&c. 

TbiProloeiHe. 

FRom jycging vaines of lyming motlier witj, 
And fuch couceitcs a$ downage Icecpes b pay: 
Weele lead you to the fta tely tent of Wa trc . 
Where you fhallhcarethcScythun TambHrUine^ 
Thrcatning the world with high aftoundingtemm, 
And fcourginj; kingdomes with his conquering (iVord^ 
Viewbuthis Piftuic in this triigicke glaflc. 
And then applaud his fortunes as you pleafe. 

A^s I. Sczna. t* 
Mycctes,Cofroe,Meandcr,TheridaniM.Or^'g«uj, 
CcaeuSjwitb others. 
My ercs. 

EKof l^ct Cofroe,3 finae m? fclfe asrcco'Oi 
^cctnruffidenttserp;eirett)e imt : 
^0} ttceqatces a great And t^unOjttig fpcectf 
<?oo,o 115;ott:cr tell tije catifs tjnto mp llo;i>9, 
3 bnotoe igou ^ane a better iDtt tfjan 3 . 

Cof.enljappiePerfu.ttiatinrojmecase. 
I^attbeenctbc Teat ofmigt) tie Conqtiero20, 
S:^at in t^eic p;obie(re ano t^etc poliictes, 
!^aaetr?mptt)oiier Afltica,artt> t(je bounSf 
^fEutope.iB^eist^raiitieoacesrcasceappejn:?^ 



FEANCIS BACON 207 



The Conqticfts of TamburJame. 
Jf J fcecjing .nc ema jbd r onfeafcB foloe : 
^3iu to be culo aiiD goucrneo bp a nt9.n, 
;at tD^JOfc b»tf) Daj Cinthij luiflj Siitume forn©, 
flno 'ouc.t^je&unflf ant) vicrcuryD^niDc 
SEo Qinb lj(B inflaeticc in bis ficble bjafne 
ijio to Cutbcs 5 2i;.>tf artf ftiaisc tfceit ftDoios af fh* 
fi^eaningfo mangle all t|>p\9joH<n««. ' * 

Mycet iBiot^ec, 3 fee pout meaning todi cnonoh. 
ana mmiivoaipiumte, 3 peccctueBoutWnBe 
3 am not toife efiougf) f be a iaing, 
15ut 3 refmc me to mp^oblcmcn, 
JCfja t hnotue mp tott.anD ran be toitneffc*: 
3 mtgfa t commannD pots to bee flatwe fo; this, 
Mcander.migbtjnot? 

M;ancl.j^otfoifofmalIflfauWmpfoocr8ignelLo20. 
Mycct. 3 meanc ft not.bnt pet 3 bnotoe 3 mi'stir, 
^et !me.pea hucM vcefcs tstjB it ft, 
iVleandcr,tboB mp fatt^fniuronnfclloj, 
JDcclace f &e caafc of mp ccmcjuco gricfe, 
m^icliis(<3oii kaoi}3eB)&hmt tljat Tambnrlaine. 
Eljat me a $om mm of fjgrueC time, 
SDootl) pjap fcpponmg flocbesof paflfeogctfi, 
ano aa j fjeace .ooot'o mcane to pall mp plam^ff, 
%^metO}s Us gooD ano mcete fo; to be toife. 
Mcand £Dft tjaac 3 !)eare pouc s^^ateffie e omplafne. 
hJt 1 amjurlainejtfjatearDie&cptbianttjcife 
SI)aftobBponi;f9ct;cf?antBofPcrrepoli« ' 
SLtcaDing bp Imi tnto tfje mtttetne Sides, 
ano in pone tonanca toitfj jjis latoles ttainr, 
£>aplp commits tJRciuiU outrages, 
goptng(miffe-lf D bp Djeaming pjopfieSee) 
£^ocat5netnAfia,ajiDtoit^3Bai:baccngacm<5 
SZo mafec Ijimfcife tlje f^onatc^ of t^e (Satt : 
^ut etc t)c matcl) in Afw,oj cifpfap 
ms tagcant enfigne in t?»e|3cEfean fielixy, 
Pm ©race mb tabmoim b? ThcrkUmaj, 
Cyacs'o toltjj a t&onfano l^o;fe,(o app^ctieoa 



208 SOME ACROSTIC SIGNATURES OF 

Signature 49. 

This acrostic is found on the last page of the play. (See p. 210.) 

Here ^ve again have the same initials F N, of the words ' For now,' 
but this time at the beginning of the first Hue of the text on the page. 

Begin to read from the initial F of the Avord ' For ' at the begin- 
ning of the first line of the page; to the i-ight; on the initials of the 
Avords of the text; doAAmwards; throughout thcAvhole page and back 
continuously; spelling Fkaa'^tcis Bacox, you Avill arrive at the in- 
itial N of the word ' noAV," next to the Avord ' For," from Avhich we 
started ; and thus key the cipher. 

Now note that the last line of the page preceding this page runs : — 

' My hand is ready to perform the deed.' 
The acrostic figure here is: — 



'O" 



For Now-. 



o 

/ 

A \ 

/ \ 

> A 

V ; 



\ 
\ 

N 



c^^,,-s 



/ 

B 



FRANCIS BAC0:N^ 209 

Signature 50. 

Observe how Signature 49 has been keyed. 

Begin to read from the initial F of the word ' Finis ' ; to the right; 
upwards; on tlie initials of the words of the text; spelling Fravncis 
Bacon, you will again arrive at the initial N of the word 'now,' on 
which the Signature 49 ended. 

The acrostic figure here is : — 

For jS^ow, etc. 

Reading upwards. O 

c 

A 
B 

S 
I 

c 

V 
A 
R 
FINIS. 

Two things are to be noted here. The one, that this page has been 
used by the cipherer in the same manner that he used the first two 
pages of the text of the play; the other, that the cipherer seems to 
have taken advantage of the double entente of the last line of the pre- 
ceding page. 



210 SOME ACROSTIC SIGNATURES OF 



the S cy diian ShepheardL 
jfoi notD \)et matnage time tiiM tDo^ite ts tttt, 

Vruni.anD Ijeer'a tDe ccotone ms lie);Q,t)elpe ret ^t on. 

Tarn, m^tn fit ttlOU OOtoneCJMOiDC Zcnocratc) 
2n8 tjeecc we ccotsne t^te ftneene of PcrHj^ 
9nt) all t^t bt'ngDotnes unB Skimfntond 
Zut)at late t()e poWet; of Tamburlaine fubDafeCf 
flfl luno to^cn tbe ©pants iBtre fupp;ea, 
SCbat oattco monntaines at Ijer 31B;ot^cc loue, 
&oloohe0 mp iGnc^aDtiotoing Intecbjo&ief, 
SCnump^esanD2rtop^(!t0 fojin? t}t(to;ics ; 
^; as Latonas Daas^f ec bent te acmes, 
^DCHing mo}c cenrage to mp conquedngtntnt)^ 
SCo gcatlfir tbe (ioeete Zcnocratc, 
<Bsiptians^^QBits,aM men of Alia, 
^Yom Barbaric tintO t^e tMcttetttt Indie, 
^(jall pap a pearelp tiibate to t^p dice, 
0no fcom tiie boanos of Affricke to tfie ban&ec 
£)fGangc»,(5all Ijtfl mtgljticarme wtenD, 
anD notD mp iLo^Ds ano lont'ng folletoers, 
SCdat paccbafo Sttn9tuinie9 bp pone macttail OceDtd. 
CaQ offponcacmoacpoton &cadetrabe5, 
C^oant tip pouc ropall places ofeffate, 
C^HUtconet) luit^ tcoopes of noble men, 
ano ttiece mahelatoes to cale pouc pjonfnceft 
l^ang tp poac tueapons on Alcides potte, 
ifOi Tamburlainc tabes tCQCetOttt) all tt)8iUOj(0. 
%^V firS betcottieo ilone Arabia 
&6alii)etettbt)ono2(a6bercemes)enfombe 
tmit^ tbts gceate 1€utiie,m^ 1}ls taitt CmpeceOie; 
SCben nftec8litI;ereroletnne(£i:eqnies, 



Fl^fS. 



FEANCIS BACON 211 

Signature 51. 

This acrostic is found in the first known edition of The Famous 
Tragedy of The Rich Jew of Malta, published in 1633 ; i. e. forty 
years after the death of Marlowe ! William Rawley was at this time 
preparing the acknowledged works of Francis Bacon for the press, or 
for publication, and Bacon's executors were about to place in Gruter's 
hands those which he edited and had published later in Holland. 
Thomas Heywood furnishes a dedication, in which he alludes to the 
play ' As I ushered it unto the Court, and presented it to the Cock- 
pit, with these Prologues and Ejjilogues here inserted.' 

I can think of two reasons for this special mention of the prologues 
and epilogues: one, that Heywood may have written them; the other, 
that their position crowded together on two pages at the front of the 
book is to be brought to our attention thereby. There may be other 
reasons; we do not know. 

We do know, however, that on the last line of the last epilogue 
the two words ' (by me) ' are bracketed together. Bracketed words 
are common enough, but these two attract our attention; in connex- 
ion with the initial of the word ' mind,' which is directly over them, 

thus, /, y The initials of this group of words are .-r> -^^ (See 

pp. 218-19.) 

Treat both pages as one for our pui'pose. (See pp. 218-19.) 
Begin to read on the initial B of the word ' by ' in the brackets; to 



212 SOME ACROSTIC SIG^^ATURES OF 

the right; ujjwards; on the initials of the words ; throughout the text 
of both pages and back continuously; spelling Bacon Bakon Vek- 
ULAM, you will arrive at the initial M of the word ' me ' bracketed 
with the word ' by ' from which we started out. 



The acrostic figure here is : 



- R 



/ 



N 



O 



N 
\ 
B \ 



V 



E 



R 

/ 
V 
/ 
L 



A By Me 



FRANCIS BACON 213 

Signature 52. 

Begin to read from the initial B of the word 'by ' in the brackets; 
to the left ; upwards ; on the initials of the words ; throughout the 
text of both pages and back continuously ; spelling Bacon Baron 
Verulam, you will arrive at the initial M of the word 'mind' im- 
mediately over the word ' by.' The signature is thus keyed in both 

IVT 
directions from the group of initials ,t> ~^T^ (See p. 219,) 

The acrostic figure here is : — 



/ N 

/ \ 

N E 

I I 

\ ' 

^\, Mind-A-^^ 
A- -By 

The questions suggested here are: What relation did Hey wood 
bear to William Rawley or to Bacon's literary executors, in the pub- 
lication of this play, so long kept out of print? Who had been hold- 
ing the manuscript for so long a time ? Was it excluded from the 
Shakespeare volume because Marlowe had long been recognised as 
its father ? Who wrote Hero and Leander, which is mentioned in the 
' Prologue ' to The Stage at the CocTce-pit ; and in which ' one ' is there 
said to have gained a lasting memorie? 

There is, indeed, room for much interpretation in the possible 
answers to these questions. 



214 SOME ACROSTIC SIGNATURES OF 

Signature 53. 

This acrostic is found in Tho. Heywood's ' Dedication ' of The 
Rich Jew to his worthy friend Mr. Thomas Hammon. (See 
pp. 216-17.) 

Begin to read on the initial T of the word '■Tuisimus'' ; to the 
right; upwards; on the terminals of the words; spelling Tznevni 
NocAB SiCNUARF, you will arrive at the terminal F of the word 
' OF ' which immediately precedes the words GRAYES IISTNE. 

The acrostic figui'e here is: — 

OF GRAYES IKNE, &c. 
R 
A 
U 
N" 
C 
I 

s 

B 
A 
C 
O 

N" 
I 

V 

E 

I 

Tuisimus : 



FRANCIS BACON 215 



Tbe Famous 

TRAGEDY 

THE RfcH lEVV 

OF MALT J. 
AS IT WAS PLAYD 

BEFORE THE KiNG AND 

Q^EENE, IN HIS MAJESTIES 

Theatre at Wiite-ffa/Z^hy her Majefties 
Servants at the Cock-fit. 

mA/M^CHRlSTOPHERMARLO. 




LON'DONi 

Printed hy /. B. for Nic^cIm yavafour^ and are to bcfoM 

at bis Shop in thelnner-TcmpIe, nccrc ibc 

Churchy 1 6 lit 



216 



SOIklE ACROSTIC SIGNATURES OF 




MY VVORTHY 

FRIEND, M^ Thomas, 

Hammon,OFGRAYES 
INNE,&c 

His Play, compofedby Co 
worthy an AuthourasMr. 
MarUi and the part ot the 
Jew prefenred by fo vnimi- 
tableanA<5bras Mr.Alii/f, 
being in this later Agecom- 
mended to the Stage : As I 
vfher'dit unto theCourt, md 
prefentcdittothc Cock-pit, 
with thefe Prologues and E- 
pilogues here infcrted, fo now being newly brought to 
the Prcflc, I was loath it fhould be publifhed without 
the ornament of an EpifUe ; making chqycc of you 
vntowhoin to deuote it; then whom (of allthofc 
Gentlemen and acquaintance, within the compaftc of 
my long knowledge) there is noire more able to taxc 

A 5 Ignorance 




FRANCIS BACON 217 



* The epijiU Dedicamyi 

Ignorancc>or attribute righttomerif . Sir, you hauc bin 
pleafed to grace fomeof mine owftt workes with your 
curteous patronage J I hopethis willnotbetheworfe 
accepted, bccaufe commended bymee ; ouerwhom, 
none can claymc more power or priuilege than your 
/cJfe. I had no better a New-yeares gift to prefent yoi 
with; receiue it therefore as a continuance of thatin- 
uiolableobliegcment, by which, he refls ftill ingagcd j 
Who as he eucr hath, fliall alwayes remaine, 

Tttifimus : 

Tiio. He r woo r. 



Tiic 



218 SOME ACROSTIC SIGN^ATURES OF 




The Prologue fpokenat Court. 

GRacioiis and Great, that tveji Boldly ^lare, 
CMsrt^ other Plffts tLtt nOvf Inform ^e) 
To J>refentthis ^ writtmiajytdres a^one, 
Asiin that Age, thought fecondvnto mnt i 
}Ve humbly crave your pardon : rveptrfue 
T'otflory of a rich ana famous Jew 
V^ho liudin MdXtZ'.youpjall find him fiill, 
Jx all hiiprok^s^ 4yi«»</MacheuiIl j 
And thai i bit Charaiier : He that hathpasi 
Si many Ctnfures^ is norv come atbji 
Tohdueyour princely Earef, grace yon him ',the» 
7 OH crorvne the AShon^ andremvne the pen. 

Epilogue, 

ITfiS earfeare (dread Soutrdgne") we haiie hi» 
Too tedious , neither can't he lejfethan finnc 
To wrong yoi4r Princely patience : if we baue, 
{jhuf lew deieSted) voey our pardon crme : 
And if ought here offend yoitr ttreorfghty 
Wc enely A^^mlspeaket wba ethers mite. 



TUc 



( The Famous Tragedy of The Rich Jew of Malta) 
Prologues and Epilogues. 1. 



FEANCIS BACO^ 210 



The Pfologae to the Stage, at 
the Cockc-pit, 



WE hofv. rot hm $ur Play may pajfe this Sta^e^ 
But hy the heft ef* Poets in thM nge 
The Malta ^owhnd betng^ani was vude ; 

• AHio. JndHe^thenby the beli ef* Amor's ptay'd : 

In Hero <ind- Leand^r, one didgme 
%_yi lalirvg metnorie :tn Tiimberlaine, 
jhislz^N^ mth ethers many : th' other wAti 
7 he Attribute ofperekjfejbeing a man 
Whom we may ranke tvith (doing no one wrong') 
VtoicvsforJhapeSy and Kofcmforimngife, 
Sd could hejpeake^ fo vary ; nor t/t hate 

• Perkins, "^o ^^^^^^ •' '" * ^'^ "'^'' deth ferfonate 

Our Jew this day^mr is it his tmhition 
To exceed,or tqmll^beingefionditim 
More modeft j this is ^iikat be intends, 
(Andthat too,atthe vrgesce ofpim friends) 
Topronehisbeft^ andif noncheregaine-fayity 
Tbe^art hehathftudied^andintends to play it. 



Epilogue^ 



1 



N €rdving,rvith Pigmalion to contend, ; 

Or Paintingpith Apelles ; douhtlejfe the ettd 
Muft be di J grace .- mr ASior did not fo^ 
Heontly ayrndtogne.butmtoHt-goe. 
A> thinke that thii day any prize WMfUtd^ 
H<rt.rvere no betts at 4l,no wagers laid^ 
Alltbe ambition that his mind doth fpeU^ 
Is but to hearefromyoH, ( by mg) 'tw^ we^ . 



( The Famous Tragedy of The Rich Jew of Malta) 
Prologues and Epilogues. 2. 



220 SOME ACROSTIC SIGNATURES OF 

Signature 54. 

This acrostic is found on the last page of the play The Famous 
Tragedy of The Rich Jew of Malta, and in the same edition. 

Note the words beginning the first four lines at the top of the 

page. They ai"e: We The initial of the first is Nj and the ini- 

Besides 
For 

tials of the last two are rp 

Treat all four lines as a string of letters. (See p. 222.) 

Begin to read on the initial N of the word 'Nay'; to the right; 
downwards; on all the letters of all the words; spelling Nocab 
SiCNTJAKF, you will arrive at the initial F of the word ' For.' 

Begin to read on the initial F of the word 'For'; to the right; 
upivards; on all the letters of all the words; spelling Frauncis 
Bacon, you will arrive at the initial N of the word 'Nay'; thus 
keying the cipher forwards and backwards, from the same letters. 

The acrostic figure here is : — 

Nay 
O 

c 

A 

Besides 

S 

I 

c 

N" 
U 
A 
R 
For with thy, etc. 



FEANCIS BACON 221 

Signature 55. 

There is still another acrostic signature in this last page of The 
Famous Tragedij of The Bich Jew of Malta. (See p. 222.) 

Observe that the initial of the first word of the first line is 'N, and 
that the initial of the first word of the last line is also an K. 

Begin to read from the initial !N^ of the first word of the first line; 
to the right; downwards; on the terminals of the words of the 
text; spelling Nocab Nakff ( = ffran Bacon), you will end your 
spelling on the F of the word ' fall ' and the F of the word ' father.' 

Begin to read from the initial IST of the first word of the last line; 
to the right; upwards; on the terminals of the words of the text; 
spelling NocAB Narff ( = ffran Bacon), you will end your spelling 
on the F of the word ' father' and the F of the word 'fall.' 

The acrostic figure here is : — 

Nay, Selim, etc. 


c 

A 

By this. 

N 

A 

R 

Fall 

Father 

R 

A 

N 

Be freed 

A 

C 

O 

Neither to Fate, etc. 



222 SOME ACROSTIC SIGNATURES OF 



The lew of MaltA^ 

Gov. Nay, Se/im, ftay, for flnce vve haac th€e here, 
We will not let rhee part fo fnddcnly ; 
Befides.if we fliould let thee goe,airs one, 
For with thy Gallyes couldft thou nor get hence. 
Without frefh men to riggeand furnifli them. 

Cai/. Tufii, Gouernor,takc thou no care for that. 
My menareallaboord. 
And doe attend my comming thereby this. 

Gov. Why hardft thou not the trunupct found fl charge? 
C'ifj. Yes, what of that ? 

C/cv, Why then thchoufc was fir'd, 
Blowne vp and all thy fouldiers maflacred. 

Calj, Oh monftrous'trcafon I 

Gov. A Icwes curtcfic : 
For he that did by trcafon wotke our fall. 
By trcafon hathdeliucrcd thee to vs : 
Know thcrcfore,til! thy father hath made good 
The ruine« done to Matu and to vs. 
Thou canft not part : for LMalta (hall be freed. 
Or Selim nc're returne to Ottamen, 

Galy. Nay rather,Chriftian5,Iec me goc to Turkey 
In perfon there to meditate your peace | 
To kcepe me here will nought aduantagc you* 

(^ov. Content thw^Caljmatb^ here thoumuft flay. 
And liuc in Mtlia prifoner j for come call the world 
To refcue thee, fo wi'l we guard vs now. 
As fboncr (hall they drinke the Ocean dry. 
Then conquer Maha^ or endanoer vs. 
So march away,and let due praife be gtuen 
Neither to Fatenor Fottune,but to Heauen. 



FINIS, 



FKANCIS BACON^ 223 



CHAPTER X 
ENGLAJSriyS HELICON— PALL ADIS PALATIUM 

[Literary collections which have been connected with the name of John 
Bodenham, or which have appeared anonymously.] 

Signature 56. 

Tins acrostic is to be found in the laudatory sonnet initialled A. B. 
and placed in the vestibule of EiiglancVs Helicon, a book attributed 
to a John Bodenham, and published in IGOO. Reference to The Dic- 
tionary of National Biogrcqjhy yields us a very shadowy personal- 
ity for this name. 'Next to nothing is know^n about it. I shall refer 
the curious reader to Walter Begley's Bacon's Nova Resuscitatio 
for fuller information on this and other books of a similar nature 
with which Master John Bodenham's name has been definitely 
connected. Begley's eighth chapter of his first volume is entitled 
'Who was John Bodenham?' In that chapter he gives some inter- 
esting reasons of the inferential kind for regarding the initials A. B., 
with which the sonnet is signed, as those of Anthony Bacon ; and 
also for believing that the person to whom, under the name of John 
Bodenham, the sonnet is addressed, is Anthony's own brother Francis 
Bacon. (See p. 226.) 

If the acrostic signatures which I find in this sonnet are evidence, 
Walter Begley must be regarded as having made a brilliantly correct 
surmise. 

Note that the initials of the words beginning the last two lines of 

T Take 

the sonnet (they are indented) are » of the words . ' , 

ISTote also that we shall at first deal solely with the sestett, which 
is separate from the rest of the sonnet. 

Begin to read from the initial T of the word ' Take '; to the right; 
upwards; throughout the whole of the sestett; using all the letters of 
aZZ the words; and back again; spelling TmEv^s"^! Nocab Einohtna, 
i. e. Anthonie Bacon Invenit, j'ou will arrive at the initial A of the 
word ' And '; thus keying the signature. 



224 SOME ACROSTIC SIGNATURES OF 



The acrostic figure here is : — 



N' 



N B 

I 



E I 



Take 



N 
O 



We have here the interesting suggestion that Anthony Bacon was 
conversant Avith this method of making an invisible signature, and 
that he was expressing his sympatliy with his brother Francis in the 
latter's design to preserve for posterity some poems which might 
otherwise have been lost to us. 



FRANCIS BACON 225 

Signature 57. 

Now note the address : — 

'To his Lovhig Kmde Friend Maister John Bodenham'; and com- 
pare it with the tone and the words of Francis's dedication of the first 
edition of his Essayes to his brother Anthony; a usual form at that 
time. (See p. 22G.) 

Now begin to read on the initial F of the word ' Friend ' ; to the 
right; downwards; on all the letters of the words; until you shall 
have spelled Francis Bacon, you will arrive at the letter N of the 
word ' count.' 

Now begin to read from the initial A of the initial signature A. B. ; 
to the right; upAvards; on all the letters of the words; until you shall 
have spelled Anthonie Bacon, you will arrive again at the letter 
N in the word ' count,' thus keying the two signatures, and expos- 
ing the sentence, ' To his Loving Kinde Friend Francis Bacon, An- 
thonie Bacon.'' The acrostic figure here is: — 

To his Loving Kinde F 

R 
A 
N 
C 
I 

s 

B 
A 

C 

o 

By both of which, I cannot cowNt 

O 
C 
A 
B 
E 
I 
N 
O 
H 
T 
N 
A 

Note that at the reading of each name the name Bacon begins 
upon the letter B of the word ' By ' in the line printed above. 



226 SOME ACKOSTIC SIGNATURES OF 



England's Helicon. 

To his Loving Kinde Friend Maisier John 
Bodenham. 

Wits Common-wealth, the first-fruites of thy paines, 

Drew on Wits Theater thy second Sonne: 
By both of which, I cannot count the gaines, 

And wondrous profit that the world hath wonne. 
Next, in the Muses Garden, gathering flowers, 

Thou mad'st a Nosegay, as was never sweeter: 
Whose sent will savour to Times latest howres, 

And for the greatest Prince no Poesie meeter. 

Now comes thy Helicon to make compleate 
And furnish up thy last impos'd designe: 
My paines heerin I cannot terme it great. 
But what-so-ere, my love (and all) is thine. 

Take love, take paines, take all remaines in me : 
And where thou art, my hart still lives with thee. 



A.B. 



As T have not had access to the original copy, I have been obliged to content 
myself with the reprint of this sonnet given by Begley in volume i of his Jiacori's 
Nova Jiesicscitatio, page 111. 



FRANCIS BACON 227 

Signature 58. 

This acrostic is found in the ' Dedication ' of the first known edi- 
tion (1604) of the Pcdladis Palatitmi; of which, so Begley says, but 
one copy is known to exist, in a private library (Britwell). (See 
p. 228.) 

Here again I shall refer the reader for the history of the book to 
the admirable account (though marred by some inferences) by Beg- 
ley, in Bacon^s Nova Mesuscitatio, volume i, cap. xii. There he lists 
it with the little group of books, connected directly or indirectly with 
the names of John Bodenham, and in one instance {Palladis Tamia) 
of Francis Meres. 

Note the initials F. B., supposed to be those of the printer Francis 
Burton. They are placed (as in the case of The Arte of English 
Poesie) both at the entrance of the ' Dedication,' and at its exit, or 
foot. 

We will begin to read from the F of the supposed Burton initials, 
at the beginning of the 'Dedication' (sixth line); to the right; down- 
wards; on the initials of the words; spelling F. Bacono, you Avill 
arrive at the initial O of the word ' of ' (82d line). 

Now begin to read from the initial F of the supposed Burton ini- 
tials, at the end of the 'Dedication'; to the right; uj^wards; on the 
initials of the words; spelling F. Bacono, you will again arrive at 
the initial O at the same word ' of ' ; thus keying the signature. 
The acrostic figure here is : — 

F. B. 
A 
C 
O 
N 
both your worships shall finde much matter Of 
contentment, etc. N 

O 

c 

A 
F. B. 



228 SOIME ACROSTIC SIGNATURES OF 

Palladis Palatium. 

To the right worshipful! Stephen Smal- 
man, of Wildertop in the Countie of Salop 
Esquire, and one of his Majesties Justices of 
peace in the same countie: and unto the 
right vertuous Gentlewoman Mistris Jane 
Smalman his beloved wife, F. B. wisheth 
encrease of all godlines in this life, and in 
the life to come eternall happinesse. 
ri lHe happy successe which this authors 
-*- former booke hath gayned under the shaddow of 
your worships winges, and also the kinde accept- 
ance of so slender a dedication as proceeded from 
my inipollished pen, have embouldened me again 
to present your worships with an other jiarcell of 
the same mans labours, in hoi^e that you both 
will (as formerly you have done) yeald a favour- 
able allowance inito this worke, and also a kinde 
construction of my rude though well meaning 
Epistle. 

The booke for argument containeth vai'ietie of 
many excelent sentences collected out . of 
the choicest writings of the auneient fathers. 
Here may wit finde pleasant and sweete flowers 
to suck hunny from. Here may youth finde 
wholesome precepts to derect his futin-e 
life. Here may the minde that readeth with 
an intention to profit, reape singular commoditie. 



FRANCIS BACOJ^ 229 

Here may the wearied and defatigate spirit, 
recreate itself with variable delightes. Here may 
most (good) dispositions light upon some thinges 
to fitte their desires. And here I doubt not but 
both your worships shall finde much matter of 
contentment, when your leasures will affoorde you 
time to peruse it. I trust that I need not frame 
any Apologie in the defence or excuse of the 
booke it selfe, for vertue is to be loved for it owne 
sake, and therefore I hope that the matter it 
selfe, will winne favour mito it selfe. If not yet 
I know that, Virescit vulnere virtus: Vertue if she 
be wounded can heale it selfe, and will appeare by 
so much more glorious, by how much more eagerly 
vice endevoureth to dimme the brightnesse 
thereof. 

Wherfore in ful perswatio that it shall gaine 
your worships good liking, I commend you both 
unto the fruition of the best joyes that eyther of 
you can wish unto your owne selves, and rest a 
devoted wel- wilier luito both your worships. 

F. B. 



FRANCIS BAC0:N^ 231 



CHAPTER XI 

SOME POEMS WHICH HAVE APPEARED UNDER THE NAME OF 
EDMUND SPENSER: AND SOME PROSE WHICH HAS BEEN 
ATTRIBUTED TO EDWARD KIRKE 

Ruines of Rome : printed in Complaints. 

VirgiVs Gnat : printed in Complaints. 

The Visions of Petrarch : printed in Complaints. 

E. K.^s Epistle to Gahriel Harvey: printed with The 

Shepheardes Calender. 
The Generall Argument: The Shepheardes Calender. 
Immerito to his Booke. 
Daphnaida. 

An Ilymne in honotir of Love. 
An Ilymne of Ileauenly Love. 
An Hymne of Heavenly Beautie. 

Note.— The facsimiles are approximately the size of the originals, except 
where they have been reduced from a folio size to that of my page. 



232 



SOME ACROSTIC SIGNATURES OF 




«Ui »« 




Complaints. 
Qcntaining furidrte 

fmall Toemes of the 

Worlds Va- 

ttitie. 

yf^bereof the next Vage 
makfth menti- 
on. 
By Ed. Sp 

t O N O N. 

Imprinted for yf^il/iam 

Povrotibie, dwelling in Paules 

Churcliyardat dip figiie of 

the "Ptjljops head. 





This title-page is printed in order that the reader may see how the name of 
the supposed author is printed. The cut is a composite of two pages. A clear 
part was obtained from each. The border from one : the centre from the other. 



FEAN^CIS BACON 



233 





The Printer to the 
Gentle T{eader. 

INCH my late (etting 
foorth of the Faerie 
^eency finding that it 
hath found a fauoura- 
ble paflage amongfli, 
_ youi I haue fithencc 
endeuoured by all good meanes /for 
the better cncreafe and accomplifliment 
ofyour delights, to get into my handcs 
fuch finale Poemes ot the fame Authors,- 
as I heard were difperft abroad infundrie 
hands, andnoteafietobeccomeby,by 
himfelfej fomcof themhauing bene di- 
uerflie ifnbeziled and purloyned from 
him,fincc his departure ouer Sea. Of the 
which I haue by good meanes gathered 
togeather thefe fewe parcels prefent, 
which I haue caufed to bee imprinted al- 
A 2 to- 



234 SOME ACEOSTIC SIGNATURES OF 



To the ^ader. 

togeatKer, for that they al fecmc to con- 
taine like matter of argument in them: 
being all complaints and meditations of 
the worlds vanitiej verie graue and pro- 
fitable. To which effed I vnderftand that 
he befides wrote fundrie others, namelic 
Eccle/ta^eS) & Qanticum cant icor urn tranf- 
Izxt^iJl fenights ^iimher,Thehell of louersy 
hUPtfrgator;e, being all dedicated to La- 
dies.5 fo as it may fccme he ment them all 
to one volume.Befides fome other Pam- 
phlets loofelie fcattcrcd abroad; as r/;^ 
etyingPel/icafiyThe hayfers 0/ the Lordj The 
facr'tfice ofa/tnnert Thefeuen Tfa/mes^ ^c, 
which when I can either byhimfelfe, or 
othcrwife attaine too, I meanelikewife 
for your fauour fake to fet foorth. In the 
meane time praying you gentile to ac- 
cept of thefe, &graciou/iie to entertaine 
the new Poet. / tak^ lea^e. 



'O' 



FKANCIS BACON 235 

Signature 59. 

This acrostic is found in the last stanza (' L'Envoy ') of The Ruines 
of Rome, which was printed in Complaints and published in 1591. 
The facsimiles are from that edition. 

Begin to read from the initial B of the word ' Bellay ' at the be- 
ginning of the first line; to the right; downwards; on the initials {or 
the terminals) of the words; spelling Bacon, you will arrive at the 
initial N of the word ' name.' 
The acrostic figure here is : — 

Bellay 
A 
C 
O 
Name 



Signature 60. 
Now note that the initials of the last word of the last line and the 

last word of the last line but one are t, of the words -.' 

F tame. 

Begin to read from the initial F of the word ' fame '; to the left; 

upwards; throughout the whole stanza and back; on the initials of 

the words; spelling Fran Bacon, you will find yourself at the 

initial N of the word ' name ' again. 



The acrostic figure here is : — 



/ 



B' 



A 



\ 



O 



Fame 
Name 



236 SOiNlE ACEOSTIC SIGNATUEES OF 

Signature 61. 

Begin to read from the initial F of the word ' fame '; to the left; 
upwards; and back again; throughout the whole stanza; on the 
lerminals, i. e. the first and last letters of each word; spelling Fran- 
cis Bacon, you will find yourself back again at the initial !N of the 
word ' name,' thus keying the cipher. 

The acrostic figure here is : — 




FEAIN^CIS BACOI^ 237 



32 

Hope yc my ycrfcs that poftcriti'c 
Of age enfuing&aUyou eucr read ? 
Hope yc that eucr immorialitic 
So meane Harpes workc may chalenge for her meed? 

If vndcr hcauen anic endurance were, 
Thcfc moDimcncSjwhich not in paper writ. 
But in Porphyrc and Marble doo appeare, 
Might well haue hop'd to haue obtained ic. 

Nath'les my Lute^whom rhwbus deignd to giue, 
Ceafe not to found thefe olde antiquities : 
For if that time doo let thy glorie liue. 
Well maift thouboaft,how euer bafc thou bee, 

T hat thou art fiifl-,which of thy Nation fong 

Th'olde honour of the people gowned long. 

5e/fe',firft garland of free Poefic (wits. 

That Jj-ifwcf brought forth, though fruitfullof brauc 
Well worthicthou of immortalicie. 
That long haft traueld by thy learned writs, 

Olde Rome out of her afiics to reuiue. 
And giue a fccond life to dead decaycs ; 
Nccdes muft he all cternitie furulue. 
That canto other giue ctcrnall dayes. 

Thy dayes therefore are endles,and thy prayfe 
Excelling all,that euer went before; 
And after thee,gins Bartas hie to rayfc 
His heauenly Mufcjth'AImightie to adore. 
Liue happic fpirits, th'honour of your name. 
And fill the world with ncuecdyicg fame. 



238 SO^klE ACROSTIC SIGNATURES OF 

Signature 62. 

This acrostic is found in the prefatory poem to VirgiVs Ghiat, 
as the poem is printed in the Comjdainfs. 

Begin to read from the initial F of the -n'ord ' For ' beginning the 
11th hne; to the right; upwards; on the initials of the words; to the 
top of the stanza and back ; spelling Frauxcis Bacox, you will ar- 
rive at the initial X of the word ' Xe ' beginning the line immedi- 
ately above the F from which we started. 

Now again begin to read from the same initial F of the same word 
'For "; to the right; downwards; throughout the whole stanza and 
back; spelling Frahntcis Bacox, you will arrive, as before, at the 
same mitial N of the same word ' Ne ' which begins the line : — 

' Ne further seeke to glose vpon the text: ' 

The acrostic figure in each case is : — 



S 

s 
I 



\ 



I 



c 

Ne further seeke / 

For N 



FRANCIS BACOX 239 



FirgtlsCftiat, 
Long (Incc dedicated 

To the moH noble and excellen t Lord, 
the Earle of Leicefter^ late 
deceafed. 

W'R$n£d,yet mi daring to expre^emypaine, 
Toy OH (great Lordjthecauferofmycare, 
]n cloVedie t cares mycAfelthHS ctm^kine 
VnhyeHfJtlpithut onely prime Ate: 

But ff that My Oedipus vnwAre 
ShaDchaHnce,thr(>Hgh poVfer cffmediftftting/prighf, 
Toreadethefecrete ofthiniddlerwre., 
tyirtdkfto^ the purport e of my entUpUghr, 

Let him ruTi pleajidivifh his cwne in/ight, 
It^Juytherfeeke toglofi vpon the text: 
Forgritfienottgh ttts to gfieued wight 
To pelt hiifajilttandnot be further vext. 

But Vehatfi by my/elfi mtey net befhowen, 
tftf^y hy this Gnatts complaint be eafily ksoVcert, 



H VVc 



Observe that your sdfe, and my selfe, are separate words in each instance. 



240 SOME ACROSTIC SIGNATURES OF 

Signature 63. 

This acrostic is found in the first verse of The Visions of Petrarch, 
as that poem appears in Comiilaints. 

Begin to read from the initial IJ of the word ' Being,' which 
begins the first fine; to the right; downwards; on the initials of the 
words; spelling Bacoxo, i. e. By Bacon, you will arrive at the initial 
O of the word ' Oft,' which begins the last line. This acrostic thus 
rmis throiigh the whole stanza on the initials, and is ke^'ed from the 
first letter of the first word of the first line to the first letter of 
the first word of the last line of the poem. 
The acrostic figure here is : Being 

A 

C 

O 

N 

Oft 

Signature 64. 
There is still another acrostic in this first page of The Visions of 
Petrarch. 

Begin to read from the initial B of the word ' Being ' (1st word, 
1st line); to the right; downwards; on the terminals; spelling 
Bacoxo, you will aiTive at the terminal O of the word ' so' (8th line, 
1st stanza). 

Begin to read from the initial F of the word ' found ' (last word, 
last line, 2d stanza); to the left; upwards; on the terminals; spell- 
ing Francisco, you will again arrive at the terminal O of the word 
' so ' (8th line, 1st stanza) ; thus keying the cipher from the initials 
of the words at the opposite ends of the string to a common centre. 
The acrostic figure here is: — 

Being one day, etc. 
A 
C 
O 

sO in their cruel race 
C 

S 

I 
c 

N 
A 

R 

cannot be Found. 



FRANCIS BACOX 2il 



l^he VijiGmofTetrdYch 

formsrly trayijlated. 

X 

BEing one day at my window all alone» 
So manie ftrange things happened me to fee* 
As much it grieiicth me to thinke thereon. 
At my right hand a Hynde appear d to mee. 
So faircas mote the greatclt Goddelite; 
Two eager dogs did her purfue in chace. 
Of which the one was blacke,the other white ; I 
With deadly force fo in their cruell race 

They pinchi the haimches of that gentle beafl, 
That at the laft.and in (hort time I fpide, 
Vnder a Rockc where fhe alas oppreft. 
Fell to the ground,and there vutimely dide. 
Cruell death vanquilhing fo noblebeautie. 
Oft makes me waylc fo hard a deftcnie. 

2 

After at fea a tall (hip did appcare. 
Made all of Heben and white Yuorie, 
The failes ofgolde,of filkc the tackle were, 
Milde was the windc,calme feem'd the fea to bee, 

The skieeachwhercdidfliow full brightandfaire; 
With rich treafures thisgay fliip fraighted was : 
But fudden ftorme did fo turmoyle the aire. 
And tumbled vp the fea,that(he (alas) 

Strakc on a rock.that vnder water lay. 
And perilhed pafl all rccouerie. 
O how great tuthand forrowfull aday. 
Doth vexmy fpiritc with perplexitic. 

Thus in a monent to fee loft and drown'd> 

So gtcatricbes,as like cannot be found. 

Zi The 



242 SOME ACROSTIC SIGK^ATURES OF 

Signature 65. 

This acrostic is found in the ' Epistle ' to Gabriel Harvey, which 
prefaces the ' Genei-all Argument 'of The Shejiheardes Calender. The 
facsimiles are from the first known and anonymous edition of 1579. 

Much ingenious surmise, based upon other ingenious surmises, has 
led some scholars to attribute the initials E. K., by which the ' 'Epis- 
tle ' is signed, to one Edward Kirke. The initials may be his, but we 
are not here concerned with that discussion. (See p. 245.) 

Note the large initial J_^ which begins the ' Post-script ' and 
which is followed by a capital O or cipher. 

Begin to read from the large initial Xl ; on the terminals of all 
words in the 'Post-script'; to the right; downwards; spelling 
NocAB SiCNARFF, you wiU arrive at the initial F of the Avord ' from,' 
which begins the last sentence, ' from mj lodging at London thys 10. 
of April]. 1579.' 

Begin again to read, this time from the initial F of the word 
'from ' on which we have found the signature to end; on the term- 
inals of all the words; to the left; upwards; spelhng Ffrancis or 

Ffravncis Bacon, you will arrive at the large initial JAI with 
which the ' Post-script ' begins. 



FRANCIS BAC0:N^ 243 



The acrostic figure here is: — 



N 



o 
c 

A 
B 

S 
I 

c 

N 
A 
R 
F 

From my lodging at London, etc. 

Compare this with the signature of Venus and Adonis. Also 
compare it with the signatures which are found in The Shepheardes 
Calender after it had been reset in the Folio edition of 1611, thirty- 
two years later. The above signatures are destroyed by the resetting, 
and new signatures are provided. 



244 SOME ACROSTIC SIGXATURES OF 



THS 

Shepheardes Calender 

Conteyning twelue yE^ogues propordooabte 



Snt'ttUi 
TO THE NOBLE AND VERTV- 

eNX Gentleman moH tvortbji 6 fill titles 
both of learning and dieiulrie M> 
rbtlip Sidney. 




AT LONDON. 

Tr'mted by Hugh Smgleton^dMl/mgin 

Creede Lane neerc vntoLudgate at the 
fipe of tkc gptecn ^mjesOiW) 

arctheretobefoldc 



FRANCIS BACON 245 



Epifile, 



riynejtlw rfiwgej.tJKHigh rwrAy ofminy,yet l)«ingfcn«wen so few. Tlicfe my preCent 
Bsynwifroany they be pleafurable or pro<itable,beyouiu(Jge,raineovvn good Mjiflei 
Hiniey,ro rvhom I hjue both in refced ofyoar vyorthinelic gcnfcrally^ J othervvyft 
»pon fbitje pardculaf & (pecial coufideruionJ voued thii my labour, and the nuydeo. 
hwdof this our commen frends Poetrie^mfeUekming already in the beginning dedi- 
cated it tothc Noble and vvcjrthy Gentleman, the rtgJitwoHhfpfiillMj.I'iu. Sidneys 
fpecial fauourer Sc maintiincr of all kind orieaming. ) Whole aufe I pray you Sir,, yf 
£nuic ihall ftur vp any wrongfulaccuTdtoitjdefend with your mighty RhetoriJt &.othet 
your rare gifts of learnings you can,8c (hield with your good vvil,as you ought,againlJ 
the malice and outrage c>ffomany"eneinies,3S I know vvilbefct on fire with the fairk* 
ofhis kindled glory.And thus recoinending the Audwrvntoyou^svifuo his moft fpo* 
cialgood frend, and my feiie vnto you both, as one making finguler account of irvo fo 
rery good and fo choi(e.frcnds,l bid you both mod hartcly firv vdl, aad commit you 8r. 
^our'moQ commendable ftudies to (he oiicion of the greatefi. 

Ycur otfne iffuieily ii 
buomn.'tundtdE.K., 



fo!i fcr 
«\A Ow I traft M. Haraey, rfist vpwj Gght of yonr fpcciall ^znis^nS gJIov/ Tons 
*' \jk)ing5,or els for enuie offo many vnwotthy QiadamSjwhicli catch « the gar- 
Jond.whidi to youalone is devre , -you TViH be periWaded to pluck oot o( the haxefid 
darkncf&jthofc Co many cxtePeat En^Hfh poemes of yoar5,which lye hid,and bring 44 
forrf) to etcnull light, Tnzfl me you doe both than griat wrQng,ia deprjuine them oi 
thedcfiredfonne,andal/byoi!t(3fe,infmoodierjjjgyo£irde(etucd pray{i3,and aHmen 
gexKnI!y,in withholding frona tJjesa .fo dxisine pleafures, wfatcfa Ae y mioht conccinc of 
yoor gallant Eftgji^hvc^cs^ they haiJe already dofti of your Latin e Pocmes, which Ic 
inyopiiuonb£>tnforiiuientiimaiM£loCTWonareTet7<fclicate,ahd(Iipereixe!lenr. Aai 
OTIS againe,! tslre my leauc of my good Mjjfln Harney . from my lodging at Laoitn 
^ lo.of Af riS. 1579. 



246 SOME ACROSTIC SIGXATUEES OF 

Signature 66. 

This acrostic is found in the 'Epistle' to Gabriel' Harvey which 
prefaces the ' Generall Argument ' of The Shepheardes Calender, as 
it appears in the Folio edition of Spenser's works, published in 1611. 

Note the initial B of the word ' But,' which begins the last line of 
the first page of this ' Epistle.' Read up on the outside letters of the 
left-hand side of the page (ignoring the large ornamental letter V) ; 
spelling Bacon, you will arrive at the capital N at the top of the 
page in the word ' uncouth.' (See pp. 249-53.) 

The acrostic figure here is: — 

N Note that this acrostic may be 

O read downwards and backwards 

Q also. 



V 



A 
B 



Signature 67. 

Now we shall deal solely with the capital letters throughout the 
whole five pages of this address. 

Begin to read from the capital N at the top of the first page, and 
on which we have found Signature 66 to end; on capital letters 
alone; through the text; spelling Nocab Sicnarf (i. e. Francis 
Bacon, backwards), you will arrive at the capital F of the word 
' From ' in the last line of the last page of the ' Epistle.' 

The acrostic figure here is : — 

From my lodging at London, the tenth of 
Aprill, 1579. 



FRANCIS BACOX 247 

Signature 68. 

IS'ote the large letter 1^ of the Avorcl ' Xow' with which the ' Post- 
script ' begins. (See p. 253.) 

Begin to read from the initial F of the woi'd ' From ' in the last line 
of the 'Post-script,' which ended Signature 67; to the right; on the 
initials of the words; upwards; spelling F. Bacon, you will arrive 

at the initial j. i of the word ' Now ' with which the ' Post-script ' 
begins. 



The acrostic figure here is : — 



N 



o 
c 

A 
B 

From my lodging at London, etc. 

Combining Signatures GO, 67, 68, we have : — 

'■Francis Bacon. From my lodging at London, 
the tenth of April, 1579,'' 

running throughout the Avhole Epistle, on the capitals, and keyed at 
the beginning and the end in this way: — 

N 

O.'^ c , o 

C Bq, C 

A ^ICj^ A 

B ^ R ^ 

From my lodging at London, etc. 

Compare these signatures with those in the first edition of TJie 
Shej)heardes Calender, which was published anonymously in 1579, 
and of which I show facsimiles on pages 245, 255. Compare them 
also with the signature to the Essayes. Of The Coiders of Good and 
Euil. 



V 



2i8 



SOME ACROSTIC SIGNATURES OF 




Worics of England's Arch-Pocr, 

Edm. Spsmisr: 

^CelleffeJ into one Volume, and 

cartfutlj corrected. 





FRANCIS BACON 



249 





TO THE MOST EXCELLENT 

and learned, both Oratour and Poet, mafter 

Gdrkl Harucyjiis verie fpeciall and iuigular good friend, f; K, 

conimcndcth the good liking of this his good labourjand the 

pacron.ige of the new Poirr. 

7{couth, ii;;I'/i?, (aide the old famous Poet Chuari 
whom for his cxccllcncic and wondcrfull skill in m> 
king.his fchollcr Udgare, a woorthy fchollcr of fb cx- 
! ccllcntamartcr.cillcth tlieloadftarreofourlanguagc: 
and whom our Cclin Clout m his Egloguc callcch fy- 
' tiruf, the God of Shcphcards ; comparing him ro the 
worthinefs of the Roman 7>//'r«/,r/rg//. Which pro- 
uerbe, mineownc good friend M. HAruty^-A% in that good old poet, icfcrucd 
well P/W<jr«/purpo'c, for the bolrtcringof his b.nvdicbrocage, Q:> very wel 
takethpIaccinthisoiirnewPoer,whoforthatheisvncouth (as laid Chau- 
«r)is vnkift; and vnknown to moft men, is regarded but of a fevve. But I 
doubt nor.fo looncas his name fhall come into theknowlcdgc of men, and 
fiis worthincflc be founded in the trumpe of Famcjbut that hcflial! be not 
oncly kift, but alio bcloucd ofalI,cmbncedof themoft, and wondred at of 
shebeft. Nole(Te,I thinke,dc(cructhhis wittinefreindcuifingjhispithincfTe 
invttcring,hiscomplain:oflouc(blouely,hisdi(cour(csofplcarureibplca-. 
fantly, his paftorall rudcnefle,his morall \vi(enelTe,hisducobrcruing olDe- 
ri>r»wcaeriewhere,inper!onages,in(cafbns,inmatccr,in fpcech, and ge- 
ncnil!y,inall fccmcliefimpliciticof handling his matters, and framing his) 
words : the which of many things that in him beftrangc, I know will (cemc 
che ftrangeft ; the wordcs themlclues beeing fb ancient,thcknirting of them 
Ibfliortandintricatc.andthe whole period and compade ofhislpccch fo 
dclightfbmcforthcrotmdncffejandiograucror thcftrangenefic. Andfird 
ofthc words to fpeakc, Igranc they be fomething hard.and of moft men vn- 
vfedjyct both Engli(h,and alio vied of moft excellent Au thours , and mofi; 
famous poets. In whom, when as this our poet hath bcene much trauailcd 
and throughly read.how could it be (as that worthy Oratourlaid) butthat 
walkingin theSunnCjakhough fbrothcraulchccwalkcd , yet needes hcc 
inufi: be fimnc-burnti and hauingthclbundofthole ancient poctsftillring* 
sng in his cares, hcemought needs in finging, hit out (bme of their tunes. 
ButwhahcfhccvfcththcnibyfuchcafuaUicandcuftomejOioflctpxirpore 

A J. and 



NPC 



CCET 
GS 

RTVW 
MH 



PC 



BI 



NI 



D 



I 



I 



EA 



O 



II 



VL 



FT 



D 



B 



250 SOME ACROSTIC SIGNATUEES OF 

THE EPISTLc^ 

andchoifejas thinking thS fitreft for fiich rafticannidnicfleof Shcphcirds; 
either for that tbeir rough found would make his rimes more ragged and ru- 
fbcall.-ordfc bccaulcfuch old and obfolae words are mod vfcd of Coun- 
try folkcj furc I ihinke^d thinke I ihinke nocamifiTc, thac they bring^reac 
grace, and as one would lay,authoricie to the vcrfe. For albc,amongft many 
other faults, it fpedaily be obicded of FtUa, againft Jjaie , and of other a- 
gainft Saltifif tkit with ouer-much fludie they afFeft antiauiciCjas couering 
thereby aedence,and honour of eWa yeeres j yet I am ot opinion, and ckc 
thcbefi learned areof the like, that thofeanckntlblcmncwordsjarcagreac 
oraimenc,bothintheone,andintheothcr; thconelabounngtofetfoonh 
in his worke an eternal! image ofantiquitie,and the otha carefully dilcour- 
fmg matters of grauitieand importance For, if my opinion faile nor, T*'."* 
in that bookc.vv herein heendeuoiircrhto let forth thepattaneof apcrfcft 
Orator,&ith, that oft-timesan ancient word roakeththeftiic feemegraue, 
andasitwerercucrcnd.nootherwifeihenwc honour and rruerence gray 
haircs, foracertainerciigiousrcgard^which we haueof old age. Yet neither 
cuery where muft old wordcs be ftuffed in, nor thccommon Diale6b,8t ma- 
ner of fpcikingfo corrupted thereby, that as in old buildings, it feeme diC' 
orderlie and ruinous. But as in moft cxquiGte pi£hires,ihey vfe ro blazeand 
portr^t^notonely the daintie lineaments or beautie,butalforoundaboutit 
toIhadowtherudethicketsandcraggiecliftSjthatby thebafendle of fuch 
parrs, morcejccelfcndeasayaccrcw to the principal! (for oftentimes wee 
findeour lelues, I know notiiow, (ingulirly delighted with the fliew offiich 
nat urall rudcncfle , and take great plcafurc in thatdiiorderiy order) : cucn 
fodoe thole rough and harfh tearmes,enlumineandmake morcdeerely to 
appearc the brightnefleofbraue and gloHous words. SOj0ftentimes,a diP 
cord inmufickemakethacomely concordance; lb great delight tooke the 
wort hie poet Alcessf^ to behold a bkmilh in the ioynt of a well-lhaped bo- 
die. Buiifany willralhly blamefuch his parpole in choice of old &vn won- 
ted words, him may I morciufUy blame and condcmnc, either of witlelTc 
hcadincfic in iudging , or of hecdldTe hardiacflc in condemning; for not 
marking the compaffeof his bent, he will iudgcof the length of his tafi. For 
in my opinion, it isoneefpcciall praifeofmany, which arc due to this peer, 
that he hath laboured to rcfloreastotheir rightful! heritage,(iichgoodana 
natural! Englilh words,as hauebeenlong timeout of vie, and dmoll dcane 
disherited. VVhichistheonelycaufe,tliatODr mothertong'JC, whichtrulic 
cfitfelfeisboth full enough for prole, &ftatclyeoougli for ver/e,harb long 
timebeencountcdmoflbareanabarrenoffeottu Which defau»t, when a* VV_ 
fomecndeuourcd tofalueand recure. they patched vptfae holas wiihpceccs 
and ragges of other hnguagcs ; twrrowing heerc of the Frcnch,rherc of the 
Italian.cuery whcreofthcLatinc;notweighing howill thole ronguesac- I L 
cordwiththcmfelucs,butmuchworfewithours; So now they haue made 
our Englilh tongucagollimaufrcy, or hodgcpodgcof all orheripcrches. 

Other 



w 



FRANCIS BACON 



251 



THE EPISTLE. 



Oiher-Ibme,notlbivdllccnein.thc EngUfli tongue, aspcrhaps in other 
languages, if they happen to beare an old word, albeit very n;uurall and fig- 
nificaatjcryoutftraight way,thatwclpcakcnoEngli/h, bncgibbcriQi.or 
nuher, lijch as in old time Eiuaders mother fp:&e : whole iirft Iharac is,th.i t 
thc}' 3K notaflumcd, in their ownc mother tongue < to bee counted llran- 
gcrs^and aliens. Thclccond fliamcno Icfle tlicn the firft, that what they vn- 
derftandnot,thcyftraightw3ydeemctobefen(cleire, & not at all to hs vn- 
daftoodrMuchiike to thc Mole in --^^i fable, that beeing blind hcrielfe, 
would in no wife be perfwaded that any beaft could (ee. TTie laft , more 
fhamcfuU d] en both, thnt of their ownc country and natural! Ipccch (which 
together with their Nurfes milke they lucked) they hauclb baicand balbrd 
iudgcnu-nt.that they will not onely thelclues not labour togarnifh & bcnu. 
cific it;^uiallo repine jthar of other it Ihould be embcliilhcdjLikc to the dog 
inihemauDger,thathimIclfecancatenohay, Scyet barkcthat thchungiic 
buflock, that Co faine would feed ; whole currilh kinde, though it cannot bcc 
kept fro barking, yet I conne them thank that they rcfr.iine from byting. 

Now, for thc knitting of Sentences, which they call the ioyntis & mem- 
bers tbereof,& for all the conrpalTc of the rpeec!i,it is round without rough- 
iidle,and learned without hardneircjfuch indeed as may bcpercciued of thc 
leaft, vnderflood of the moft, but iudgcd onely of the learned. For what in 
moftEngKlh writers vfeth to bcloo(e.and as it were vnright.in this Author 
IS well grounded, finely framed, and ftronglie truflcd vp together. Inregnid 
whereof,! Icomeand (pcwouttherakehcUy rout of our ragged rymcrs (for 
Ibthemlelucsvlcto hunt thc letter) which withoutlcaming baift, without 
iudgemcnt langic, without realbn rage and foitie,as if fbme inftinft of poc^ 
dcaUIpirit had m wly muiflicd them abouc thc meanncfle of common cap.v 
cide. And bceing in the midft of all their biaucrie,(uddenly,dtherfbr want 
ofmatrcr,orrimc,orhauingfbi30tten their former conceit, they feemeto 
belo pained & trauailcd in their remembrance, as it were a woman in child- 
birth,orasthatlamePythia,whcnthcirauncecame vponha; Osrabidum 
fere, cor da domans^e. 

NeuenhcIcffejletthcmaGodsnamcfccdoQ their ownc foHy, £o they 
fccke not to darken the bearacs of others glorie. AsforC*^, vnder whole 
perlon the Authors (clfe is (hadowcd, how farre he is from fiich vaunted ti- 
des,and glorious (hewes, both himfclfe (hcwah, whc/e hefaith : 

OfMufes Hobbinoll, / conne no skill. And 

Inough is me toftswt out my vnre(l, &c. 
AndaKbappcarcthbythckilenefreof thcname, wherein it feemcthhcc 
chofc rather to vnfold great matter of argument couertly,thenprofcfsing it, 
not fiifSce thereto accordingly .Which moucd him rather ill At^logues the 
otherwifetowritCidoubting perhaps hisability.which he littlcaardcd; or 
minding to fiimifh oar tongue with this kind .w herein i t faultcth;or follow - 
ing one examplcofthebcft&raoftancicnt poets, which dcuilcd this kinde 

As. 



OE 



MMA 



K 



N 



EA 



PO 



NG 



AC 



OMHIA 



WA 



252 



SOME ACROSTIC SIGNATURES OF 



THE EPISTLE. 



of writing, bcciag hot h fo bafe for the mactcr, and homdy for rhe nuncr,at 
rhc firft to trie their habiUcics : tike as young birds, tlwt be newlic acpt out 
ofthcncft, bylittleaD<Jlktle6fftproouc tlicir tender wings , before they 
makea greater flighr. So Sew Tkrotritftt, n s yoa mny pcrcehic hcc was al- 
rcadiefullflcdgcd. So flew r/rgj^.a^nojyec well fcefing his wings. So flow 
JV/jw/ajsf.asnocbceirrgfuHibtnd. So Petrsn^af. So Boccace. So Mixoti 
J'4/7Jz.jir«/,andaIlbdiLrare other excellent bothlralian and French poets, 
whole fooring this Aothour cuery \vherefo!!oweih ; yet fb as few, but they 
be well Icntcd.antracehhnoiit.So finnlly flieth this our new Poet, as ;i 
biid whole principalsbefcircegrowneout,bnty«a»oneth3tin rime (Lill 
beable tokcepewingwiththcbcft. 

Now,as touching thcgcneralldrifcand purpofeof his Aeglogccsjinind 
not to fay much,himfclfc labouring to coceale it. Ondy this appeorcth, that 
his vnftaied youth had long wandered m the common Libyrinth ofLoue, 
in whichtiotc, to mitigaie&allayphehcaccofhispafsion.orelfeto wamc 
(as hcclaitfi) the young flrcpheards [his equafsandcompimionsjofhrs vn- 
fortunaccfolly,hecompircdcheJetwe!ucAegIogues;whichforthatthc)'bc 
proportioned to the Trace of the tweluc Moneehs, he tearmah it the J&^- 
W4riiC(i/^;»^^/'japplyingatjoldnafne to a new worke. Hccrcvntohoucl 
addedacertaine Gloffe or fcholion, for the expofition of old wordes, 6c 
hardcrphi-afcs ; which manner of glofstng and commencing , wdl Iwote, 
willfcemc ftrange and rare in our tongue: ycf, for fbmuchas I knew, many 
cxcclleatandpropcrdaii('es,bothinwordsandmattcrjWOitldpaflein thf 
fpecdiecourleofreadingjcicheras vnknowne,or asnot marked j& that in 
this kind,as in other wee might b* equaH co the learned of ochcr aiiions , I 
thonghcgoodtorakethepnincsvponme, thentherforthtrt bymcanesof 
fbmc fawiiliap acqunincancc 1 wasmitdepiritrieto his counlaitedclecret mcn- 
ning in the, as alio in lundry Other works of his. Which albeit t knowc bee 
nothing fomwhhateth,asropromutgacc, yet thtrs much hauci aducntu- 
rcd vpon his friend[hip,hin>:elfc being forlong time fiir cftntngcd, hoping 
that thiswili the rather occafionhim, toputfoorth diuerie other excellent 
woiks ofhis, which fleepinfileHce.a^hisDreams, his Legends, his Court 
of Cttpd, & iiindry others, whole comendation to fet ouT,were very vainc, 
the things though worthy of many, ycrbeemgknowne to i<:\v. Thete tny 
prcfcntpainesjiftoany they be plealurabfe, or profitable, be you iudge, 
mineowne maiftcr /Zir/(^,co whom Ihmie both in refpcfl-of your worthi- 
nencgenerallyj&otherwilcvponkjmepartiarlar&fpcciallconfiderations, 
vowed this my labour, & the maidenhead of this our common friends poc- 
trie,himfelfehauing already in the beginning dcdtca red it to the Noble and 
worthy Gentleman, the right worlhipftilt mM{\cr Philip .Kid/jej , a Ipcciall 
fauourcr&maintaincrofall kindc of learning. Whofc ciule, I pray yoii 
fir,if enuie fhall (lirre vpaiiy wrongfull.-icaif;ition, defend with your migh- 
ty Rhetoricke,and other your rat h gifts of learning , as you can, and fliield 

with 



ST 



sv s 



MSPSBSM 



SIF 



SP 



NAI 



LL 



MS 



CHI 



WI 



PLC 



T 

hF 



N 



GPS 



WI 



FRANCIS BACON 



THE EPISTLE. 



253 



with yourgoodu'ilI,as you ought.ngninft die malice 5t outra^ of fo many 
enemies, as I know will bcfcconfircwiththelpafksof his kindled gloric. 
Andchinrrecommendingthe Authourvntoyou, asvntohis thoft ipccinll 
goodfrietKl,and mylelfcvmo youboth.as one making fingularaaouncof 
two fo very good & fo choife friends, I bid you both moft hardly farewell, 
&conimicyou& your commendable ftudics to the tuition of the greatcH. 



Tour oTPneaffuredty to he 

comnnandeL E. K. 



Tosi fcr. 

NOw Itruft,M.//jr«/;', that vpon /ight of your fpedall friesids and 
fellow poetsdooings.orcllcforenuicof (o many wonhy Quidams, 
which carch at the garland which to you alone is due, you will bcperlwa- 
ded CO pluck outofihehatcfuldarknefs,tholc(b many cxcellcntEnglifli po» 
ems ofyours, which lie hid, and bring them foorth to eternall light. Truft 
me.you doethem great wrongjn depriuing them ofthedefired funnc,4pd 
aHo yourfclfcjin fmothcring your dcfcrued j>raifes, and all men gencaily, 
in with- holding from them (5 diuineplealures, which they mightconceiuc 
of yourgaHant Fnul (hvcr(cs,asthcy haucalrcady done ofyourj^atiac po- 
ems, which in my opinion, both for inuention and elocution,are very del r- 
c«eand uiperexccllcnt. And thus againe, I take my Icaueof mygood M. 
HaTHtj. From my lodging at London, the tenth (jfAprilL 1^79, 




I 



EK 



NOIIVLH 



EL 



AIM 



HFLA 



254 SOME ACROSTIC SIGNATUKES OF 

Signature 69. 

This acrostic is found in the last paragrajih of ' The generall Argu- 
ment of the whole Booke ' as it is printed in the first known edition of 
The Sheplieardes Calender, which was published anonymously in 1579. 
This general ai-gument follows the ' Epistle,' in the Folio edition of 
Sijenser's WorTcs published in 1611. 

Begin to read from the last letter ' t,' which is the last terminal 
letter in the paragraph; on the terminals of all words in the para- 
graph; to the left; upwards; spelling Tixevni Xocab, you Avill 
arrive at the capital B of the word ' But ' which is the first terminal 
of the paragraph. 

The acrostic figure here is : — 

But our Author, etc. 
A 
C 
O 

I 

N 
V 
E 

N 
I 
throughoutT 

This acrostic was destroyed by the resetting of the matter in the 
Folio edition of the WorTcs in 1611. It is interesting to compare 
the acrostics which appear in the two editions, and also to com- 
pare the above acrostic with that found in the ' Dedication ' of Venus 
and Adonis. 



FEANCIS BACO^ 



255 



fpecijliudgfmri For altjfittliat in tUtr times, vvlien asyettlicfotimptoftlie yaevns 
ttot pf cfertcd.is aftcrvvitde it waj by luliu; Cxfarjtliey began to tel the monetbcs from 
Marc+ies begi;ining,am< according to the fame God (as is ftyd in Scnpnire) comaundcd 
tlie people of the It y ves to count the mon«h Abil,that vvliich yve gall March , for the 
foil inoneth,in remcmbrauncc that in that montth he brought them out of the land of 
Aeipt : yetaccordingto tradition oflattcr times it hath bene olhcrvviie obferued-bocli 
jngoiicrnmfiiiofofthcchurch,andruleofMighiieftRcalm(rs, ForftomlulHuOefar 
vvhoCrftobfcrucd the leapcycere which he called Binextiiem Annum, and brought in 
to a more certain courfe the oJdevvandrinedayes which of the Grcekes were callftJ 
\tffiJ-i,tni. of the Romanes intcrcalares (for in fiicli matter oflenrning I am forced to 
vie the tennes of the learned ) the monethcs haUc bene nombr^d xi). virhich in thefiril 
ordmaunce of Romulus were buttennc, countinpbutCCCiiij.daycjineueryyeare', 
and bcginninij with March. Bm Noma PompiLus,vvhp vvas^hc fatlier of al die RomaH 
ceremonies and religion , feeing that redcontiigio agree neithef with the courfc of tlis 
(bnnc,norof the Moonc,riierevnto siikA txvotnonethes,IaiTuary and February:whcr- 
in it Iccmeijjjthat wife kingmindedypongoodreafon to begin the ycareatIanoarie,of 
him therefore Co called tanquam lanua anni the gate and entraunce of the yere, ot of the 
name of the god lanus , to which god for that theoldPayntmsattnbuted thebyrth& 
besinninRofall creatures new commingintoth»-vrvorlde , itfeemeth that he thctfbrc 
tohimarttgnedtiicbeginm'ngandfird cnrraunce oftheyeare . vvhichacconntforthc 
fnoft part Inth hetherto continirtd.Notwithftanding thafrfie iEgiptians beginne theyr 
ycare at Septcmber,far that according to die opinion of the beft Rabbins,and very pur- 
pofc of the faipture felfe ,• Godmadc the Vvorlde in thatMoneth,that is called of uem 
Tifii And tiietcfore he commaimdcd tlicm,to keepe the feaft of Pauilions in the end of 
theyearcjin thejtjr.day of thefcuenthmoneth,vvhich before that time waf the firfiT 

But our Authdurrefpcfting nether the fubtiltieofthone parce,northe antiquitieof 
thother.thinketh it fitteft according to the (impfrcitie of commcn yndeiftandingjto bev 
gin with lamiarie.wening it perhaps no deconl, thatSepheardlhould be feeneinmat 
«cr of fo deepc infight.or canuafc a caft of fo doubtful Judgment.So therefore bcginoeth 
hr^&foconwuethlic throughoou 



256 SOME ACROSTIC SIGNATURES OF 

Signature TO, 

This acrostic is found in ' Tiie generall Argument of the whole 
Booke ' ( The Shejyheardes Calender), which follows the address to 
Gabriel Harvey with which we have just dealt. The facsimile is fi'om 
the Folio edition of Spenser's Works published in 1611. (See pp. 
258-60.) 

Note that the last two paragraphs of this 'Argument' begin 
with the initial F and B, of the words ' For ' and But.' Here Ave have 
a hint. 

Begin to read from the initial F of the word ' For,' which begins 
the first of the last two paragraphs of the 'Argument'; to the right; 
downwards ; on the initials of the woi'ds of the text ; spelling Fkauncis 
Bacon, you will arrive at the initial N of the word ' Notwithstand- 
ing ' at the lower right-hand corner of the page. 



Signature 71. 

Now begin to read from the initial B of the word ' But,' which 
begins the last paragraph; to the right; on the initials of the words; 
upwards; spelling Bacon, you will arrive again at the initial N of 
the word ' Notwithstanding.' 

Signature 72. 

Now begin to read again from the initial B of the word ' But'; to 
the left; on the initials of the outside words of the paragraph ; spell- 
ing Bacono, i. e. By Bacon, you will arrive at the initial O of the 
word ' our.' This cipher can be repeated backwards from the initial 
O of the word 'our'; spelling Onocab, you will arrive at the initial 
B of the word ' But.' Thus the signature is not only keyed both 
ways itself, but is planned to be a base from which we can key the 
two previous acrostics. 



FRANCIS BACON^ 

The complete acrostic figure here is: — 

For albeit, etc. 
R 
A 
V 
N 
C 
I 
Sig. 70. S 

B 



257 



Sig. 71. 



Sig. 72. 



C 



o 

ISTotwithstanding 
O 
C 
A 

But our Authour neither 
Antiquitie 



of_ 



of 



corn- 



case 



Note that by beginning the last paragraph with an initial B, the 
cipherer afforded himself the opportunity to give himself a base 



or butt for his signature 



258 



SOME ACROSTIC SIGNATURES OF 




The generall Argument of the 



"ivhole ^00^ 




e-j. 



. ^} It tie, I ho^Cy needcth me at Urge to Jifcourfe the fir (} o- 

r'tgtnallofA^egloguts^hiuir.g cireadic touched ihepme. 

Bttt^fer the iScordx^ eglogues, iknovre is vrknoivneto 

rnoft^ andalfc miHaker. of feme the best Icdrntd {as they 

I thinke) livillfayfomeivhat thereof J)ee:ngnot at aliim- 

, jxrtmnt to Tnyprefentfurftfe. 

Theyyfere firlt of the Greekes, fhe inuentours of 
them, culled A cglogas, as it veere., Acgon, or Aegiiiomon logi , that is CafC' 
hetirds tales. Tor although inVixg\\And others , the fpeakers be TBore shrp' 
hoards jthefi Coatheards^yetThcocr'nus^ift rvhom is more groHrtdofautho- 
ritie then in Vi rgil, this fpeC'inlly from t,hat diriuing, as from the frJi head Ci> 
well-fpriiJg the whole inuenticn of thcfe \yieglogues, makcth Goateheards 
the per fans and AtUkors of his tales. This beeing, who fee th not the grofneffe 
of fuch AS by colour of learning would make vsbeleeue, that thej are mere 
rightly teirmed'Edoz?i\.,as they would fay, extraordioarie difcourfes efvn- 
neccffariematter: which defnition, albetn fubliance and meaning it azree 
with the nature of the thing^yetnowhit anf-aereth wth //v Analyfis ^in- 
terpretation of the word. For they be not t earned Eglogs, Aeglogues ; which 
fentence this Authour veri-e well obferuing, vpon good iudgemcnt^ though 
'indeedefewe Goatheards hiue to doe herein, neuerthek^e doubttth not to call 
them by thevfedand befl knowne nime , Other curious difcourfes heereofi 
rejerue to greater occifion . 

Thefe twelae Aeglogues euery where anfrtering to the feafons of the tvcelue 
24oneihs^ maybewelldiuided into three formes or rankes. For either they be 
rlaintiue, as the frsi^, thefxty the eleuenth, and the twelfth : or Recreatiae^ 
fuch as allthofe be, which containe matter ofleue, or commendation offpeciall 
ptrfon&ges: orMortll, which for the mojlpart be mixed with feme Satyr f- 
(ailbitterne^e ^namely^he fecondofreuerer.ee due to old age,thefift of colou- 
red deceit-, thefeiuenthand ninth of dtffolute Shepheards and Pastors, the 
tenth of contempt cfPoetrie andpleafant wits. And to this diuijion may eue* 
rie thing heereJn be reafonably applied: a few onely except, wholefpecialpur- 
pofe and meaning 1 amnot^riuieto. And thus much generally of theft tvcelue 

Aeghguts, 



FEANCIS BACO>^ 259 

THE ARGVMENT. 

jifglogues. 7(0X0 mllwefpeake particularly efall^ and fir ff cflhefirit, vhich 
hecaliethbj the fir H Monethes name, lanua rie : wherein tofome he tmyfeemi 
Jowly to haue faulted, iri that he errenioitfly begintieth with that Monet h^which 
beginnethnot theyeere. Foritiswellknowne.,andjloHtly tmintained with 
firengreafonsefthelearned^thattheyeerebeginneth in March: for then the 
funnerenueth hispni(hed courfe, and the feafonahle Spring refrefljeth the 
earth^andthepleafaunce thereof beeing bttriedinthejadneffe of the dead Win- 
ter ^novoworne amay ^ reuiaeth. 

This opinion maintaine the old Aslrologers and Philofophers ■, ttamelie, thi 
reuerend AndiloyandMacrohiasJn his holy dales of Samrne : which account 
dfo was generally obferuedjboth of Grecians O* Remans, But fauingtbe leaue 
cffttch learned heads ^we maintaine a eullome of counting the feafonsfrom the 
Monet h January ^pon a morefpeciall caufe then the heathen Philopphers euer 
eauld conceiue : that is^ for the incarnation ofourmightie Sauiour^O' et email 
Redeemer the Lordchrifl^ who as the renewing thefiate of the decaied World\ 
and returning the compiffe ofexpiredyeeres^ to their former date , and fir It 
commencement, left to vs his Heires a memoriall of his byrth, in the end of the 
laH yeere and beginning of the next. Which reckonings he fide that etertiall 
Honument ofeurfaluation, leaneth alfo vj>op good proof e of ffeciall fudge- 
tnent. 

For albeit that sit elder times, when as yet the count of theyeere was notper- 
feifedy as afterward it was by lulius Csfir, they beganne to tell the Monet hs 
firom Marches beginning -ydnd according to the fame, God {astsfaidin Scrip- 
ture) comaanded the people of the lewes to count the Monet h fiihib^that which 
rue call Marchtfor the firlfMonethyin remembrance that in that Moneth hee 
Brought them out of the Land of ^egypt : yet, according to tradition of latter 
times it hath heene otherwife obferKed, both ingouernment of the Church,ind 
ruleofmightiefl Realmes.Forfrom lulius CxEir,whofirI}obJerttedtheleape 
yeere,which he called Biffexdkm Annum, and brought into a morecertaine 
courfe the odde wandring dales, which of the Greekes were called Hypei- 
bainontes, of the Romanes Intercalares ifor infuch matter of learning [ am 
forced to vfe the tearmesofthe learned) the Monet hs haue heene numbred 
twelue, which in the frit ordinance ^/Romulus were but tenne, counting but 
ic^daiesi»eueryyeere,andbeginning with Mirch. But Numa Pompilius, 
vhewas the father of all the Romane Ceremonies, ^nd Religion , feeing that 
reckoning to agree neither with the courfe oftheSunne;nor the Moone, there, 
imto added treo Moneths,Ianmrie and Fehrutrie : wherein it feemeth, that 
wfekingminiedvpengoodreafon toheginne theyeere at lanuarie, efhim^ 
therefore fe called tanquam lanua anni, the gate & enter ance ofthejeere^ or 
efthenameofthegodlanus: to which god Jer that the old Paynims attribu- 
ted the birth and beginning of all creatures new coming into the world, itfee- 
rneth that he therefore t9 him afsigned, the beginning and fir fi entrance of the 
jeere. Whstb account fir the melif art hsthhithertocentinued. ?(etwithjlan- 

ding. 



260 



SOME ACROSTIC SIGNATURES OF 



THE ARGVMENT. 



ding^thAt thel-gyj/tiansbegiKne their yeere at September^ for thit according 
to the opinion of the hesi Rabbines^ and very purpofe of the Scripture it felfe. 
Cod made the world in that Monet h^ that is called of themTihi. Andthert' 
fore hecomaundedthem to kcepe the fed ft ofPauiUens, in the end oftheyeere, 
in the XV. daj ofthefeuenth Monet h^ ixhich before that tint: xcas the fir]}. 

ButearAuthour^refpeStingneitherthtfubttltieofthe one part, nor the 
antiquitie of the other, thinketh itfittejl, according to the fimplictrie of com. 
vton vnderHanding^to beginne with Ianaarie;Treening itperlupi no decorum 
thitjhepheards/houldbefeene in matter offo deepe m-fight^ or canuaje a. ca/e 
cffe doubt full iudgement. So therefore beginnethhce, andfo contmuetb hee 
throughout. 




rRA:N^CIS BACOX 261 

Signature 73. 

This acrostic is found in the poem ' To His Booke,' signed with the 
masking name ' Immerito,' and introducing The Shepheardes Calen- 
der. 

The facsimile is reproduced from the first known and anonymous 
edition of The Shepheardes Calender, j^ublished in 1579. It is a curi- 
ous fact that this j^age is closely similar in type and in setting with 
the page as it appeared in the Folio edition of the Works of Edmund 
Spenser in 1611; thirty-two years later. 

Note the words which mark the indents: — 

Goe 

Under. 

But 

As a working hypothesis w^e shall go under the w'lord ' But ' by 
beginning to read from the initial B of that word; to the right; on 
the initials of the words; down through the poem and back; sjjelling 
Bacox, you will arrive at the initial N of the word ' name ' at the 
other end of the same line. 

Now note the initials of the front words of the three lines: — 

B ' But if that any aske thy name, 

Say Say thou wert base begot with blame : 

F For thy thereof thou takest shame. 

Having read from the initial B of the word ' But ' downwards, let 
us read from the initial F of the word 'For'; on the initials of the 
words ; upwards {or downwards) and back, continuously, throughout 
the poem imtil you have sijelled Frauncis Bacox; you will arrive 
again at the initial N of the word ' name.' 

Now begin to read from the initial B of the word ' blame '; to the 
left; on the initials of the words; down and back again; spelling 
Bacon, you will arrive at the initial N of the word ' name.' 

Now begin to read from the initial N of the word ' name ' upwards; 
on the initials of the outside words of the poem; entirely round the 
poem; sj^elling Nocab, i. e. Bacon, backwards, you will arrive at 
the initial B of the word ' blame.' 

Now again begin to read from the initial B of the word ' blame ' ; 
downwards; on the initials of the outside words of the poem; entirely 
around the poem; spelling Bacon, you will arrive agam at the 
initial N of the word ' name.' 



262 



SOME ACROSTIC SIGIs^ATURES OF 



Begin to read from the initial B of the Avord 'But'; to the right; 
downwards; on all the letters of all the words; spelling Bacoxo, 
you will arrive at the terminal o of the masking name 'Immerito.' 



The acrostic figure here is : — 




Imm erit O 



FKAIn^CIS BACOIS' 263 



TO HIS BOOKE 

^oe little hoo^uhyfelfeprefent, 
fiAschildTphofe parentis ')pnknt: 
To him that is thefrepdent 
Ofnoblejje andofcheualree^^ 
^nd if that Enuie barl^at thee^ , 
dSsfure it mil/or fuccour^ flee^ 

Vnder the fhadow of his V^ing, 
^ndafkcd,%vho thee fortkdid brings 
(iA fl:)ef beards fveainefaye did thee fing^ 
oAltas hisjlrayingflocl^e hefeddet 
oAndinihen his honor has thee redde. 
Crane fardon for my harcfyheJde. 

'But "tfthat anyafk^ thy name^, 
Say thou wert bafe begot mth blamt^i 
For thy thereof thou ta^ft Jhamt.^. 
^ndnphen thou artpafl ieopardee^. 
Come tellme^vphafwasfaydofmee^ ; 
Qjhdfmllfend more after thec^. 

fmmeritb. 



264 SOME ACROSTIC SIGNATURES OF 

Signature 74. 

This acrostic is found in the second stanza of Daphnalda, as it is 
printed in the first known edition of 1591. (See p. 267.) 

Note the initials of the first word of each line in the stanza; they 
are : — t> 

O 
L 

N 
T 
F 
B 

Begin to read from the initial B of the word ' But,' which is the 
first word of the first line of the stanza; to the right; downwards; on 
the initials of the words; throughout the stanza and back again con- 
tinuously; spelling Bacono, you will arrive at the initial O of the 
word ' Or,' which is the first word of the second line of the stanza. 

The acrostic figure here is : — 




Tfl 

Now note the initials t> with which the first two Avords of the last 

B, 

two lines begin. 

Begin to read from the initial F of the word ' For,' which is the 
first word of the last line but one ; to the right ; upAvards ; on all let- 
ters of all words ; spelling Francisconocab, you will arrive at the 
initial B, which begins the fii'st word of the first line of the stanza. 

Begin to read from the initial B of the word ' But,' which is the 
first word of the first line; to the right; downwards; on all the letters 
of all the words; spelling Baconocsicnarf, you will arrive at the 
initial F of the word ' For,' which is the first word of the last line but 
one of the stanza. 



I 



FRANCIS BACON 265 

The acrostic figure here is: — 

But 

A 

C 

O 

N 

frOm hence: 

I ^ 

A N 
p ^ 

But here no tunes, etc. ' 



26G 



SOME ACROSTIC SIGNATURES OF 



T>aphndicla, 

An Elegie vpon the 

death of the noble and vertuous 

Douglas Howar4D4«^^/^r and 

heire oiHenry Lord Howard^yiC. 

count "Byndon^and tt'/ff ofhx- 

thurc Gorges Efquier, 

^Dedicated to the Right honor ahle the Ladj 
HelemMAtquciVQ o^Northamjjtoft. 




At Lokdon 
Trmtedfor William VoniovhyJ'^elling in 
Panics Churchyard at the Cgne of the 
Biibopshead i^px. 



FRANCIS BACO]^ 



267 




Da^hnaida.. 

^y^Hateuer man he be,wIiofe heauie minde 

With gricfe of moiirnefull great tnifhap opprcf!> 
Fit matter for his cares incrcafe would finde : 
Let reade the rufull plaint herein expreft 
Of one (I wcene) the wofiilftmanaliuc 
Eucn faclw^/cjo;/,whofcerapicrced brefl 
Sharpe forrowe did in thoufand pccccs liue. 

But who fo clfe in pleafurc findeth fenfe. 
Or in this wretched life dooth take deh'ght. 
Let him be banifht farre away from hence : 
Nc let the facred Sifters here be hight. 
Though they of forrowe heauilie can fing ; 
For euen their heauie fong would breede delight : 
But here no tunes, faue fobs and grones (hall ring. 

In ftcad of thcm;,and their fwcete harmonic. 
Let thofc three fatall Sifters, whofe fad hands 
Doo vvcaue the direfuU ihrcds of deftinie , 
And in their wratlibrcakc ofFche virall bands. 
Approach hereto : and let the drcadfuU Qucene 
Of darken'es decpe come from the Stygian ftrands, 
Andgrifly GhoHs to heare this doleful! tccne. 

A? lo 



268 SOME ACROSTIC SIGNATURES OF 

Signature 75. 

This acrostic is found in the last three stanzas of Daplinalda, as 
they appear in the first known edition of 1591. (See pp. 271-72.) 

Note the initials of the first word of each of the first three lines of 

B 
the third stanza from the end. They are N. Note the same initials 

B 
in the corresjionding positions of the last stanza. 

Our attention is drawn to the last three stanzas by these N. B's. 

Begin to read from the initial B of the word ' But,' which begins 
the first line of the third stanza from the end; to the right; down- 
wards; on the initials of the words; spelling Bacono, you will 
arrive at the initial O of the word ' ouercast.' 

Beo-in to read from the initial B of the first word of the last line 
of the last stanza; to the right; upwards; on the initials of the words; 
spelling Bacono, you will arrive again at the initial O of the same 
word ' ouercast,' and thus key the ci^jher. 

The acrostic figure here is: — 

But he no waie, etc. 
A 
C 
O 
N 

Ouercast, 
N 
O 
C 
A 
But what of him, etc. 



FRANCIS BACON^ 269 

Signature 76. 

This acrostic is found in the last stanza of Daplinaida, as it appears 
in the first known edition of 1591. (See p. 272.) 

Begin to read from the initial B of the word ' But,' which is the 
first word of the first Hue of the stanza; to the right on all the letters 
of all words; spelling Bacoxo, you will arrive at the letter 'O' of 
the word ' thereto,' which is the last word on that line. 

Now note again the initials of the first word of each of the first 

B 
three lines of this stanza. They are N. We have accounted for one 

B 
B in this group. 

Begin to read from the initial B of the word ' Bixt,' which is the 
first word of the third line of this stanza; to the right; upwards; 
on all the letters of all words; spelling Bacono, you will again 
arrive at the letter ' O ' of the word ' thereto,' which is the last word 
of the first line. 

ISTow see how these two signatures are keyed to the same point. 

Begin to read from the initial F of the word 'FINIS'; to the left; 
upwards; on all the letters of all the words; spelling Francisco 
Bacoxo, you will again arrive at the letter 'O' of the word 'thereto,' 
which is the last woi'd of the first line of the stanza. 

The acrostic figure here is : — 

BACONO 



C O N N 



B A ^ " O 

C 
A 
B 
O 
C 
S 
I 

c 

N 
A 
R 
FINIS 



270 SOME ACROSTIC SIGXATURES OF 

Signature 77. 

This acrostic is found in the last column of Daj)hnaida, as it ap- 
pears in the Folio edition of 1611. (See p. 273.) 

Observe that the fourth stanza from the end is cut off so that the 
last word of the first line at the top of the column is the word 'faint,' 
the initial of which is the letter F. 

Begin to read from the initial F of the word 'faint'; to the left; 
downwards; on the terminals; spelling Ffrax Baconocab Narff, 
YOU will arrive at the initial F of the Avord ' FIXIS,' and thus key 
the aci'ostic from the initial of the last word of the first line of the 
column, to the initial of the only woi-d of the last line of the same 
column. 

The acrostic figure here is : — 

Faint 
F 
R 
A 

B 
A 

C 
O 

Tho wheX the pang was someAvhat ouer-past, 
O 
C 
A 
B 
X 
A 
R 
F 
FIXIS 

XoTE. — The Lady Douglas Howard, in whose memory this Elegy was written, 
was the only child and heiress of Henry Howard, Viscount Bindon. She married, 
Oct. 13, 1584, Sir Arthur Gorges, the poet and translator, third son of Sir William 
Gorges, Vice-Admiral of the fleet. In 1619 Sir Arthur published a translation 
of Bacon's De Scipkntia Veterum, and he also published an edition of Bacon's 
Essays translated into French. {Dictionary of National Biography.) 



FKAXCIS BACON" 271 



DaphnaiJa. 

And when yc hf are, thar I am dead or ilai'ne. 
Lament ray lotj and cell your fellow fwaincs 
That fad S^lcyon dyde in lifcs difdaine. 

And ye faire Damfcls Shepheards dere delights. 

That with yourloues do their rude hearts poflcfle* 

When as my hearfe fliall happen to your fighteSj 

Vouchfafe to deck the fame with CyparefTc; 

And euer fprincklc brackilli teares among. 

In pitie of my vndeferu'd diflrefTe, 

The which I wretch, endured haue thus long. 

And yc poo re Pilgnmc5,that with rcftlcffe toyle 
Wearie your felues in wandringdefertwayes. 
Till that you come, where yc your vowes alfoyle. 
When pafsing by ye read thefe wofuil layes 
On my graue written, rue my Daphnes wrong, 
And mournc for me that languifh out my dayes : 
Ceafe Shephcard, ccafcand end thy vndcrfong. 

nrhus when heendcd hadhis heauieplaint. 

The heauieft plaintthat cuer I heard found. 
His cheekcs wexc pale,and fprights began to fainr, 
As if againehe would hauc fallen to ground; 
"Which when I fawj (flepping to him light) 
Amooucd him out of his ftonie fwound. 
And gan him to recomfort as I might. 

But he no waie recomfortcd would be. 
Nor fufFcr folace to approach him nie. 
But calling vp afdeinfull eic at me, 
That in his traunce I would ot let him lie. 
Did rend his hairc,and b:at 1 1 1 blubbred face 

As 



272 SOME ACROSTIC SIGNATURES OF 



As one difpofcd wilfullic to die. 

That I fore gricu'dto fee his wretched cafe. 

The when the pang was fon:iewhat oiicrpafl. 

And the outragious pafsion nigh appeafed, 

I him dcfirde,(ith daie was oiiercafl. 

And darke night faft approched,to be pleafcd 

To turne afide vnto my Cabinet, 

And ftaie with me,till he were better cafed 

Of that flrong flownd,which him Co fore bcfet. 

But by no racanes I could him win thereto, 
Ne longer him intreate with me to flaic. 
But without taking leaue,he footth did goc- 
With flaggringpacc and difraall lookesdifmay. 
As if that death.he in the face had fecne. 
Or hellifh hags had met vpon the way ; 
But whatofhimbecamel cannot weene. 



FI:^CIs. 



FRANCIS BACOl^ 



273 



DAPHNAIDA. 



When ye doe heare my fonowfuU lonoy, 
Yetpitty mcinyourenipaffiond fpright, 
And thioke that fuch mishap, as chaunft to me. 
May happcnvnto the moft happieft wight > 
For all mens ftates alike vnftcdfaft be. 

And ye my fellow Shepheard s, which do feed 
Your car clcffe flocks on hils and open plaines. 
With better fortune, then did melucceed; 
Remember yet my vndeferued paines : 
And when ye heare, that I am dead or flaine. 
Lament my lot, and tell your fellow fwaincs j 
That fad A L c Y o N dyde in lifes difdaine. 

And ye faire Damfels, Shepheard $ deire delights, 
That with your loues doc their rude harts poflelTe, 
When as my hearfe Ihall happen to your fights, 
Vouchlafe to deck the fame with Cypareflc i 
And euerlprinkle brackifh teares among, 
Inpittyofmyvndcferu'd diftrefle, 
The which I wretch endured haue thus long. 

And ye poore Pilgrims, that with reftlefle toyle 
VVearieyourfcIuesinwaiidringdefcrtwayes, 
Till that you come, where yeyourvowcs alToylcj 
When paising by, ye read thcle wofull layes, 
On my graue written, rue my Daphne s wrong. 
And mourne for me that languifh out my dayes : 
Ceafe Shepheard, ceafe,ind end tliy rndcrfong. 

THus when he ended had his heauie plaint. 
The heauicft plaint that euer I heard found. 



His chcekes wext pale, and fprights began to faint. 
As if againe he would haue fallen to'ground ; 
Which when I faw, I (ftepping to him light) 
Amooued him outof his ftonie fwound. 
And gan him to recomfonasi might. 

But he no way recomforted would be. 

Nor fuffer folace to approach him nie. 

But carting vp a fdeignfull eye at me. 

That in his traunce I would not let him lie. 

Did rend his haire, and beate his blubbredface. 

As one di(pofcd wilfiilly to die. 

That I fore gricu'd to fee his wretched cafe. 

Thowhen the pang was fomewlut oucr-paft. 

And theoutrageous pafsion nigh appeafed, 

I him defirde. fith day was ouer-caft, 

And darkenight faflapproacheJ.to bepleafej 

Toiumeafidevotomy Cabinet, 

An (lay with me, till he were better eafcd 

Of that ftrong ftownd, which him fo fore bcfeu 

But by no meanes t could him win thereto, 
Ne longer him inireat with me to flay; 
But withouttaking leaue he forth did goe 
With fbggring pafe and difmall lookes difmay, 
A s if that death he in the face had fcene. 
Or hcllini hags had met vpon the way : 
But what of hini became, I cannot wcene, 

FINIS. 



COM- 




This page is printed so that the reader may see the signature as it was printed 
in the Folio edition of Edmund Spenser's Works published in 1611. 



o 

are J_J This I take as a hint to look over the page. The first thing- 



L5 



274 SOME ACROSTIC SIGXATURES OF 

Signature 78. 

This acrostic is found in the first verse of 'An Hymne in Honour 
of Love,' as it is printed in the volume entitled Foivre Hymnes Made 
by Edm. Spenser, and published in 1596. (See p. 277.) 

Xote the first two capitals in the first word of the first stanza, they 

to strike me is the fall of the initials of the first word of each line in 
the first stanza. They are: 

iP 

A 
D 
F 
B 
O 

Begin to read from the capital O which follows the large L; to 
the right; on all the letters of all the words; downwards; spelling 
OcsiCNARF, you will arrive at the initial F of the word ' Faine.' 

Now begin to read from the initial O of the word ' Or ' which is 
the first Avord of the last line; to the right; upwards; on all the let- 
ters of all words; spelling Oxocab, you will arrive at the initial B 
of the word ' By.' 

The acrostic figure here is: — 

Ove, that long since hath, etc. 
iC 
S 
I 

c 

N 
A 
R 

Faine would I seeke, etc. 

By any seruice, etc. 

A 

C 

O 

X 

Or ought that else, etc. 



FRANCIS BACOjS^ 275 

Here we find the initials ,» to be the centre of an acrostic which 

reads outwards to the cipher or capital O at the top and the bottom 
of the figure. Note that these two capital 0"s are the only two 
ciphers in the first stanza. 

While we are on this page we may observe that if you begin to 
spell from the initial B of the word ' But,' which is the first word of 
the last line of the page; to the right (or to the left); upwards; on 
the initials of the words; spelling Bacon, you will arrive at the 
initial N of the word ' name.' 

The acrostic figure here is : — 

Name 
O 
C 
A 

But if thou wouldst, etc. 

Note that on the front page of each of the other three ' Hymnes ' in 
the book there are three full stanzas. The last stanza on this page 
has been cut so that the first letter of the last line of the page is the 
initial B of the word ' But.' The two remaining lines of the stanza 
are printed on the next page. 



276 



SOME ACROSTIC SIGNATURES OF 




Fovvre Hymnes, 

MADE BY 
Edm. Spenser. 




London, 
Priniedfor William Ponfonby. 



FKAN'CIS BACON" 



277 




AN HYMNE IN 

HONOVR OF 
LOVE. 

LOue,thatIongnnce!iafl; to thy mighty powre. 
Perforce fiibdudemypoore captiued hart. 
And raging now therein with reftlelTe ftowre, 
Doeft tyrannize in euerie weaker part; 
Faine would I feeke to eafe my bitter finart, 
By anyferuicc Imightdotothee, 
Or ought that elTe might to thee pleafing bee. 

And now t'aflwage the force of this new flame. 
And make thee more propitious in my need,, 
I mcane to fing the praifes of thy name. 
And thy vidorious conquefts to arced; 
By which thou madeftmany harts tobleeS 
Ofmighty Vi(5lors, with vvyde wounds embrewcd, 
And by thy cruel! darts to thee fub dewed* 

Onely Ifeare my wits enfeebled late, ( b red, 
Through the fliarpc forrowes Vv hicii thou haftme 
Should faint,and words fhould faile nK,to relate 
The wondrous triumphs of thy great godhcd. 
But if thou wouldft vouchfafe to ouer/prcd 

AiiJ 



278 



SO^^IE ACROSTIC SIGNATURES OF 



Signature 79. 

This acrostic is found in the first page of *An Hymne in Honour of 
Love,' as it is printed in the Foho edition of the Works of Edmimd 
Spenser, and pubHshed by Mathew Lownes, in 1611. 

Note the initials of the last three lines of the first stanza; they 

F Faine 

are B, of the words By, which we have already used in dealing 
O Or 

with the Quarto Foivre Hymnes of 1596. 

Here we have the initials F, B, and O, or a cipher, to guide us. 

Begin to read from this O; dowuAvards; on the outside letters of 
the page of text: spelling baclvwards Onocab, you will arrive at the 
initial B of the word ' By * : having completely circled the page. 

The acrostic figure here is : — 



-thAt- 



-sinCe- 



Faine 

By 

Or 



— iN — hOnour- 



FRANCIS BACOJN^ 



279 




AN HYMN E, IN 

honour of Loue. 



LO V Bjtlut loog Cnce hall to tliy mightie powrc 
Perforce fubdudc my poorc capDued lurt. 
And nging now therein with reftleffcftowrSi 
Dooft tyrinnize in enery weaker port ; 
Foine would I fetke to cafe my bitter fidan* 
By any feruice I might do to thee, 
brought that clfemigfatto thee plciCogbee, 

And DOW t'aflwage the force of this new flame. 

And make thee more propitious in my need, 

I mejne to (ing the pnyles of thy name. 

And thy viilorious conquefts ro areed ; 

By which thou madefl many harts to bleed 
Of mighty Vigors, with wide wounds embrat'd. 
And by thy cruell darts to thee fubdew'd. 

Onely I feare my wits enfeebled Iate> 
Through the (harpe forrowes, which thou tad mebredj 
Should fajflt, and words (houldfailc me to relate • 
The wondrous triumphs of thy great god-hed. 
But if thou wonldft vouchlafc to ouer-lpred 

Me with the (hadow of thy gentle wiDg» 

I Ihould enabled be thy afts to Cog, 

Come then, o come, thou mighty God of lone. 
Out of thy filuer bowres and lecrct blifle. 
Where thou dooft (it in V e N v s bp aboue. 
Bathing thy wings in her Ambrofiall kiflci 
That Iwceter fane then any Ncftar is ; 

Come foftly , and my feeble bread iofpire 

With gentle furie. kindled of thy fire. 

And ye fwcet Mufcs, which haue often prou'i 
The piercing points ofhisaiicngcfuU darts; 
And ye faireNimphs, which oftentimes h'auelou'l 
The cmell worker of yout kindly ftnarts. 
Prepare yonr fdties, and open wide your harts. 
For toreceiuethetriumph of your glory. 
Thai made you merry oft, when ye were fon'e. 

And yee faircblolTomes of youths wantonbreed. 
Which intheconquefts cfyourbeautieboft, 
VVhcmvith your loucrs feeble eyes you feed. 
But fterue their harts, that needeth nurture moft. 
Prepare your (elues, to march amongft his hoft. 
And all the way this (acred Hymne doe Cog, 
Made in thelionour of your Soucraigne King. 



GReat god of tniglit, that rcigneft in tte Brfn4, 
And Jl thcbodie to thy Heft dooft&atn^ 
Viftor of gods^nbducrof ttunkiDd, 
That dooft the Lions and fell Tygen came, 
Mab'ng their cruell rage thy fcorriall gomt. 
And ID their roring taking great dchghtj 
Whocan exprefle theglory of thy ungbt? 

Or who aliue can perfefUy declare 

The wondrous cradle of thine in£uide? 

When thy great mother V E N V s fiift dice bare* 

Begot of Plentie and ofPennrie, 

Though elder then thine ownc natioitie » 
And yet a child, renewi tig ftill tby yeares: 
Andyettheeldcft of the heaucnly Pcares. 

For ere this worlds ftill momngmightienufle. 
Out of great Chaos vgly priloo crept. 
In which his goodly fie long hidden was 
From hcaucns view,and in dcepe darkneffe kept; 
L o V E , that had now loug rime fecurety flept 
Jn V E N V s Iap,Tnaniied then and naked. 
Can reare his head, by C I o r B o becmg waked. 

And taking tohim wings ofhis owneheat. 

Kindled at firft from heaucns life-giuing fire. 

He gan to mbue outof his idle feat, 

Wcokely at (irft, but after with de(ire 

Lifted aloft, licgan to mount vp hier. 
And like frefti Eagle, made his hardic flight 
Through ail that great wide wafte, yet wanting Eght 

Vetwanting light'to guidehiswandringway. 
His owne faire mother, for all CTeatures Cike, 
Did lend him light from her owne goodly ray : 
Then through dbe world his way he gan to take. 
The world tLaiwas not,tilJ be didit make; 
Whofe fundry parts he from themfclues did fcuc*. 
The which before had lycn confufed euer. 

The earth, theayre,the water, and the fire. 
Then gan to range themfelues inhugearray. 
And with contrary forces to confpire 
Each againft other , by all meancs they may, 
Threaming their owne coafiifion and decay : 
Ayre hated earth,and water hated fire. 
Till L o r s relented their rebellious ice. 



280 SOME ACEOSTIC SIG:N^ATUKES OF 

Signature 80. 

This acrostic is found in the first stanza of 'An Hymne of Heavenly 
Love,' as it is printed in the volume entitled Fowre Hymnes, published 
in 1596. 

As in previous cases our attention is attracted l^v the first two capi- 



L'' 



tals of the first word in the stanza. They are 1 i and they prompt 
us to scrutinise the stanza. 

Begin to read from the capital O, or cipher, which follows the 

large Xj; to the right; downwards; on all the letters of the words; 
throughout the whole stanza and back again continuously; spelling 
Onocab Ocsicnarf, you will arrive at the initial F of the word 
' From,' which is the first word of the second line of the stanza. 
The acrostic figure here is : — 




The first three pages of this poem are reproduced in facsimile in 
order that the reader may compare them with the corresponding 
stanzas, as they are printed in the Folio edition of Spenser's WorTcs 
published in 1611, in which there is to be found another acrostic. 

While going to press I see that there is still another acrostic on this facsimile 
(see p. 281). Begin to read from the terminal F of the word 'OF' (AN HYMNE 
OF) ; to the left ; downwards ; on terminals ; spelling Fran, yovi will arrive at the 
terminal N of the word 'In' (2d stanza, 2d line). Begin to read from the initial 
B of the word 'Before,' at the foot of the page; to the right; upwards; on the 
terminals ; spelling Bacox, you will again arrive at the terminal X of the word 
'In' (2d stanza, 2d line), and thus key the cipher from opposite ends of the 
string to a common centre. 



FRANCIS BACOX 281 




^-v. 



AN HYMNE OF 

HEAVENLY 
LOVE. 



LOue.lift me vp vpon thy golden wings, 
From this bale world vntg thy heaiiens hight. 
Where I may fee thofeadmirable things. 
Which there thou workeft by thy Ibueraine mighr^ 
Farre aboue feeble reach of earthly fighr. 
That I thereof an hcauenly Hymne may fing 
Vnto the god of Lone, high hcaiiens king. 

Many lewd layeS ( ah woe Is me the more ) 
In praife of that mad fit, which foole s call loue, 
I haue in th'heat of youth made heretofore. 
That in light wits did loofe afFedion mouc. 
But all thofe follies now I do reproue, 
And turned haue the tenor of myftring, 
TheJieauenly prayfes of true loue to fing. 

And ye that wont with greedy vainc defire 
Toreademyfault, and wondriiigat my flame. 
To warme your felues at my wide fparckling fire, 
Sith now that heat is quenched5quench my blame. 
And in her afhes rtirowd my dying fhame ; 
For who my pafled follies nowpurfewes, 
Beginnes Ms owne, and my old fa ult rene wes. 

Before 



282 SOME ACEOSTIC SIGNATURES OF 



HEAVENLY LOVE. 25 

"OHfore this worlds great frame,in whichal things 

Are now containd, found any being place. 
Ere flittingTimc could wag his eyas wings 
About that mightie bound, which doth embrace 
The rolling Spheres,8<: parts their houres by fpace, 
That high eternaIlpovvre,which now doth moue 
III all thefe things, niou'd in it felfe by loue. 



It lou'd it (elfejbecaufe it felfe was faire j • 
(For fa ire islou'd; ) and of it felfe begot 
Like to it felfe his eldeftfonne and heire, 
Eternall, pure,and voide of finfull blot, 
The firflling of his icy, in whom no lot 
Oflouesdiflike,orpridewastobefound, 
VVhomhe therefore with cquall honour crownd. 

VVith him he raignd, before all time prefcribedj 
In endlefle glorie andimmortall might. 
Together with that third from them deriued, 
Moft wife,mofl: holy, moft almightie Spright, 
VVhofekingdomes throne no thought of earthly 
Can coprehed,muchlofle my trebling verfc(wight 
VVith equal! words can hope it to reherfe. 

Yet o moft blefled Spirit,purc lampe of light, 
Eternall Spring of grace and wiledometrew, 
Vouchfale to ?hcd into my barren fprighr. 
Some little drop of thy ccleftiall dcw^ 
That may my rymes with fwcct infufe tmbtew^ 
And giue me words cquall vnto my thought. 
To tell the manieiles by thy metcie wroitghi, 

D iij 



FRANCIS BACON" 283 



iS AN HYMME OF 

Yet being pregnant ftill with powrefull grace 
And full of friiitfull louc, that loues to gee * 
Things like himfelfejaiid to enlarge his race 
His fecond brood though not in powre Co prcat 
Yet full of bcauiie, next he did beget ' 

An infinite increafc of Angels bright, 
AIJ gliftring glorious in their Makers light. 

To tliem the heauens illimitable hight 
Not this round heaue,which we fro hence behold 
Adornd with thoufand lamps ofburning lieht ' 
And with tenthouiand gemmes of fhynina goJd 
He gauc as their inheritance to hold, ^ ^ ' 
That they might ferue him in eternallblfs 
Andbepartakersofthofeioyesofhis, * 

There they in their trinall triplicitics 
About him wait, and on his will depend^. 

Either withnimble wings tocutthe'skics 
When he them on his meflfages doth fend 
Oronhisowne dread prefencc to attend ' 
Where they beholdthe glorieof his light 
And caroll Hymncs of louc b oth day and night. 

Boih day and night is vnto them all one. 
For he ijis beames doth ftill to them extend. 
That darkneflc there appeareth neuer none^ 
Ne hath their day, nchath their bHfle an end. 
But there their termelelTe time in pleafure fpend 
Neeuerfhould their happinefle decay, ' 

Had not they dafd their Lord to difobay. 

Bue 



284 SOME ACROSTIC SIGNATURES OF 

Signature 81. 

This acrostic is found on the first page of 'An Ilynine of hcauenly 
Lone,' as it is printed in tlie Folio edition of the 11 o/'As' of Edmund 
Spenser, published by Mathew Lownes, in IGll. (See p. 286.) 

Oiu- attention is attracted by the initials t> of the words t^ 

•' rJ Beginnes, 

which begin the last two lines of the ' Prologue ' ; and by the I > which 

begins the first line after the ruled line. x» v> 

Our attention is also attracted by the initials ^ of the words ^ 

at the beginning of the last two lines of the page. These two lines 
seem to be crowded into the page, but that may have been the print- 
er's idea of typesetting. x^ 

Begin to read from the big J3 below the ruled line; to the right; 
downwards; on the initials of the words; spelling Bacono, you will 
arrive at the initial O of the word ' of.' 

Begin again to read from the initial. F of the first word of the last 
line of the jiage ; to the right ; upwards ; on the initials of the words ; 
spelling Fraxcisco Bacoxo, you will arrive at the initial O of the 
same word 'of,' again; and thus keying the cipher. 

The acrostic figure here is : — 



B 



Efore this worlds great frame, etc. 



A 
C 
O 

N" 
The firstling Of his joy, 

N 



O 
C 
A 
B 

S 
I 
C 

N 
A 
R 

For he his beames doth vnto 
them extend. 



FRANCIS BACOIS^ 285 

Signatwe 82. 

Begin again to read from the big initial _D; totlieriglit; upwards; 
on the initials of the words; spelling Bacon, you will arrive at 
the initial N of the word ' name ' at the end of the first line of the 
column. 

The acrostic figure here is : — 

IS^ame 

o 

c 

A 



B. 



fore this worlds great frame, etc. 



Signature 83. 

There is still another acrostic to be seen on this facsimile (see p. 
286). The last verses of An Ilgnin in Honour of Beauty are to be 
seen at the toj) of the page. 

Begin to read from the initial F of the word 'FINIS'; to the 
right; upwards; through the linos of the poem to which it is the com- 
pleting word; on the initials; spelling Fea Bacon, you will arrive 
at the initial N of the word ' name.' 

The acrostic figure here is: — • 

Name 

O 

C 

A 

B 

A 

E 

FINIS. 



286 



SOME ACROSTIC SIGNATURES OF 



of Hcauenly Loue. 



Siozing this Hymne in honour of thy lumc, 
Conipy W by me, which thy poore liegeman anu 

In lien whereof, grant, 5 great Soueriignc, 
That Die wbofe coD<jucriDg bjeantie dotli captiue 
My trembhn •; Bart in her etemoll cbaine. 
One drop of grace at length will to me giae, 
ThatI herboundcn thrill by her may liue : 
And this Cune life, which nrft from me fhereaued. 
May onetobcr.of whom I it receaaed. 



And you foire V E N V i dearling, my deare dread, 
Frerti flowre of grace, great Goddeile of my life. 
When yonrfoire eyes Sefefearclull lines Ihallread, 
Deigne to let fall one drop of dac relicfe. 
That may recure my harts long pyning gricfe, 
And fliew what wondrous po wre your beauty hath. 
That canreAoreadoinncd wight fromdeath. 

F I N 1 Si 



AN HYMN E, OF 

heauenly Loue. 



LO y B,1i(t mevp vpon thy golden wings, 
From thii bafe world vnto thy heauens highr, 
Where I may fee thofe admirable things, 
Which there thoa worked by thy foucraine might, 
Farre aboue feeble reach of earthly fight. 
That I thereof an heauenly Hymnc may fing 
Vnto the god of L o v e, high heauens King. 

Many lewd layes fjL woe is me the more) 
Jo proife of thattnoj fit, which foolcs call loue, 
I hauein tb'heat of youth made heretofore. 
That in light wits did loofe affc£tion moue. 
Bat all thole follies now I doe reproue. 
And turned bane the lenor of ray ftring. 
The heauenly ptoifes of true lone to ling. 

And yethatwearwith greedy value dciire. 
To read my fault, and wondring at my flame, 
To worraeyour felues at my wide fparkling firei 
Sith now rhit beat is quenched, quench mybbmc. 
And in her alhcs Ihrowd my dying (hanac : 
Forwho my pafledfoUies now purfewes, 
Bcginnes his owne, and my old Emit rcnewes« 



BEfore this worlds great (hunt, in which all thiogt 
Are now cootaindifound any beeing pbce, 
Ere flitting Time could waghis eyas wings 
About that mighty bound, which doth embrace 
The rolling Sphere, & ports their houres by fpace, 
That high Etemall powre, which now doth moue 
In all thefe things, mou'd in itfelfe by lone. 

It lou'd it felff , becaufe it felfe was foire }. 
(For faire is lou'd ;) and of it fclfc begot 
Like to it fclfc his eldcft Tonne and heire, 
Etemoll , pure, and void of finfnll blot. 
The firftliog ofhisioy,inwhomnoiot 
Of loues difhke, or pride was tobefound, 
Wbom he tboefore widi c^uall honor aomd* 



With Kim heraignd.teforeallti'meprefeh'beJ, 
In endlefle glorie and immortoll might, 
Together with that thirdfrom them deriued, 
Moft wife, moft holy, moft almightie Sprigbt, 
Whofekingdoms throne.no thoughts of earthly wiglt 
Can compreheud, much leffe my trembliDgverfe, 
With equall words con hope it to rehoTe. 

Yet 6 moflblcffed Spirit, pure lampe of b'ght. 
Eternal 1 fpring of grace and wifcdomc ime, 
VouchCife to flicd into my barren (prighl^ 
Some little drop of thy celeftioll df w. 
That may my rimes with fwc ct infufe embrew. 
And giue me words eqaall vnto my thought. 
To tell the maruciles by thy mercy wrought. 

Yet becingpregnantftill with po\vrcfulI grace, 
And Rill of fruicfiill loue, that loues to get 
Things hke himfelfe, and to enlarge his race, 
His fecond brood.thoueh not of powre fo great. 
Yet full of beautie,nextTie didbeget 
An infinite increafe of Angels bright. 
All gli firing glotious in their Moxcrs light. 

TothemtheheauensilLmitablehight 

(Not this round heauen.which wee from hente beooU, 

Adamd with thoufand lamps of burning light, 

And with ten thonlond gemmes of fhitung gold ) 

He gone, as their inheritance to hold, 

Tn at they might ftrae him in etcniall Ui}> 

And be partakers of thofe ioyes of his. 

There they in their trinall triplidtiei 
About him wait, and on his will depeo J, 
Either with nimble wings to cut the skies, 
Wlwn he them on his mcfligcs doth fend. 
Or on his oWne drad prdence to attend. 
Where they behold the glory ofbis hghf, 
And caroll Hyrones of loue both day and night. 

Both day and night it vntq them all one, 
Fothehis-beamcs^tlmtothemextead. 



FRANCIS BACON 287 

Signature 84. 

This acrostic is found on the page facing the last page of 'An 
Hymne of Heavenly Beavtie,' as it is printed in the volume entitled 
Fowre Ilijmnes, published in 1596. 

Begin to read from the initial F of the word ' For,' which is the 
first word of the first line of the page; to the right; downwards; on 
the initials of the words; spelling Francisconocab, you will arrive 
at the initial B of the word ' bee,' which is the last word of the last 
stanza. 

The acrostic figure here is : — 

For she out of her secret threasury, 
R 
A 

C 
I 

s 

Of Gods high praise, etc. 
Ne from thenceforth doth any, etc. 
O 

c 

A 

All other sights but fayned shadowes Bee 

Note that the acrostic 'Bacon' runs through the last stanza from 
the initial N of the word ' Ne,' which is the first word of the first 
line of the stanza, to the initial B of the word ' bee,' which is the last 
word of the last line of the stanza. 



288 SOME ACROSTIC SIGNATURES OF 



44 AN HVMME OF 

Vot ffic out of her fccrctthrcaruiy, 
Picnric of riches forth on him will powrc, 
Euenhcaucnly riches, which there hidden ly 
Within the clofetof her chafteft bowre, 
Th'eternal! portion of her precious dowrc, 
"Which mighty God hath giiientoherfree. 
And to all thole which thereof worthy bee. 

None therecrf'worthy be,but thofe whom fiiec 
Vouchfafeth to her prefencc to receauc, 
And letteth them her louely face to fee, 
Wherof fuch worvdrous pleafures they conceaue. 
And fweetc contentment, that it doth bereaue 
The ir foule of ferife, through infinite delight. 
And them tranlportfrom flefh into the Ipright. 

In which they fee ftich admirable things. 
As carries them into an cxtafy. 
And heare fuch heauenly notes, and carolings 
Of Gods high praife, that filles the brafen sky. 
And fccle fuch ioy and pleafurc inwardly, 
Thatraaketh them all worldly cares forget. 
And onely thinks on that before them fet. 

Ne from thenceforth doth any flefhiy CenCc^ 
Oi'idle thoughtofearthly things remaine, 
But all that earft fecmd fvveet,(cemes now offcnft, 
And all that plcafed earft,now feemcstopaine. 
Their ioy, their comfort, their defire, their gaine, 
Is fixed all on that which now they fee, 
AH other fights but fayned fbadowes bee. 

And 



FRANCIS BAC0:N^ 289 



HEAVENLY BEAVTIE. 45 

And that fairc lampc J which vfeth to enflamc 
Th c hearts of men with (clfc confiiming fyre. 

Thenceforth (cemcs fowle, & full of finfiill blamcj 
And all that pompe ,to which proud minds a(pyrc 
Byname of honor, and fb much defyrc, 
Secmcs to them bafcneflc^and all riches drofle. 
And allmirthiadnefle, and alllucrc lofle. 

So full their eyes arc of that glorious fight, 
And fcnfcs fraught with fuch (atictic. 
That in nought elfe on earth they can deh'g^r^ 
But in th'afped of that felicitie. 
Which they hauc written in their inward ey j 
On which they feed, and in their faftencd mynd 
Allhappieioy and full contentment fynd. 

Ah then my hungry foulc, which long haft fed 
On idle fancies of thy foolifh thought. 
And with falfe beauties flattring bait mifledj 
Haft after vainc deceiptfuU iliadowes fought. 
Which all are flcd,and now haue left thee nought^ 
But late repentance through thyfoUics pricfj 
Ahccaffc to gaze no matter of thy grief. 

Andlooke at laft vp to that fbucraine light. 
From whole pure beams alperfcd beauty Iprings, 
That Icindleth loue in euery godly fpright, 
Euen the loue of God,which loathing brings 
Of this vile world,and thclc gay feeming tilings; 
With whole Iweete pleafures being (b pofleft. 
Thy ftraying thoughts henceforth for euer reft, 

G 



290 



SOME ACEOSTIC SIGNATURES OF 



CHAPTER XII 

MR. "WILLIAM SHAKESPEARE'S COMEDIES, HISTORIES, AND TRAG- 
EDIES, WHICH HAVE BEEN ASSIGNED TO THE ACTOR WILLIAM 
SHAKSPERE 

SiGXATUBES 85-94 are found in the lines signed with the initials 
B. I. facing the portrait in the first Folio. 



Signature 85. 

Begin to read from the initial B of the word ' But '; on the initials 
of the outside words of the stanza; upwards and all the way round 
the stanza; spelling Bacon, you Avill arrive at the initial N of the 
word ' Not,' thus keying the signature. See diagrams A, B, C, E 
(pp. 297-301). 



The acrostic figure here is : 



Cut 



All 
But 
Not— On. 



Note. — Excepting Diagram A, which is taken from Halliwell-Phillips' fac- 
simile, all the other facsimiles in this chapter are taken from the first Folio of 
1623, as it appears in the reproduction made by the Clarendon Press under the 
supervision of Mr. Sidney Lee. They have been reduced to the size of my page. 
I am indebted to the never-failing courtesy of the Oxford University Press for 
permission to make the reproductions. 



FRANCIS BACON 



291 



Signature 86. 

Begin to read from the initial N of the word ' Not ' ; on the initials 
of the outside words of the stanza; to the right and upwards and 
around; spelling backwards Nocab, you will arrive at the initial B 
of the word ' But,' thus keying the signature. See diagrams A, B, 
C, E (pp. 297-301). 

The acrostic figure here is : — 



Cut 



As 

I 
But 

Not-On- 



Signature 87. 

Begin to read from the initial B of the word ' But '; on the outside 
letters of the stanza; upwards and all around the stanza; spelling 
Bacon, you will arrive at the initial N of the word ' Not,' thus 
keying the signature. See diagrams A, B, C, F (pp. 297-301). 

The acrostic figure here is : — 

THISFIGURETHATTHOUHERESEESTPUT 

I T 

W E 

W E 

O T 

A T 

H E 

A E 

But E 

NOT ON HIS PICTURE BUT HIS BOOKE 



292 SOME ACROSTIC SIGNATURES OF 

Signature 88. 

Begin to read from the initial N of tlie word 'Not'; on the outside 
letters of the stanza; to the right; upwards; and all the way around 
the stanza ; sijelling backwards Nocab, you will arrive at the initial 
B of the Avord ' But,' thus keying the signature. See diagrams A, B, 
C, F (pp. 297-301). 

The figure here is shown on the previous diagram. 

Signature 89. 

Now deal with the last two lines by themselves : — 

' But since he cannot, Reader, looke 
Not on his Picture, but his Booke.' 

Begin to read from the initial B of the word ' But'; to the right, 
and back on the next line; on all the letters of the words; sijelling 
Bacon, you will arrive at the initial N of the word ' Not,' thus key- 
ing the signature. 



The acrostic figure here is: 



But 
A 

C 
O 
Not 



Signature 00. 

Begin to read from the initial N of the word 'Not'; to the I'ight, 
and back on the line above; on all the letters of the words; spelling 
backwards Nocab, you will arrive at the initial B of the word 'But,' 
thus again keying the signature. 



The acrostic figure here is : 



But 
A 

C 
O 
Not 



FRANCIS BAC0:N^ 293 

Signature 91. 

It is worth recording also that if you treat in the same way the 
two hnes of letters running up the vertical front of the stanza, you 
will get the same results. The following diagrams will serve to show 
the working of these signatures ; Bacon spelled up, or to the right, 
and back again to the same letter N, in each case. 

You will observe that I have treated these lines of letters as if they 
were letters strung on a string, the ends of which are the initials K 
and B. 

Stanza facing the Droeshout Portrait. 
This 
It 

Wherein 
With 
Ocould 
As 
His 
All 

Butsincehecannotreaderlooke 
Notonhispicturebuthisbooke 

TH 

I 
I T 

I 
WH 

WI 



u 



H I 

I I 

b-u-t-s-i-:n^-c-e-h-e-c-a-:p^-n-o-t-r-e-a-d-e-r-l-o-o-k 

I I 

N-O-T-O-N-H-I-S-P-I-C-T-U-R-E-B-U-T-H-I-SB-O-O-K-E 



!) 



294 SOME ACROSTIC SIGNATUEES OP 

Signature 92. 

Begin to read from the initial B of the word ' But '; to the right, 
and upwards ; on the initials of the words ; throughout the stanza 
and back; spelling Ben Ionson, you will arrive at the initial N of 
the word ' Not,' thus keying the signature. See diagrams A, B, C 
(pp. 297-99). 

The acrostic figure here is : — 



N 



1 

/ 

E 

\ 



B 

N 



Signature 93. 

Now turn to diagrams A and D (pp. 297-300). 

Omit the words which overhang at the front of the stanza, and 
deal solely with the terminals of the other words (i. e. the first and 
last letters). 

Begin to read from the initial F of the word ' Figure ' ; to the right ; 
downwards; on the terminals of the words; spelling Francis or 
Ffrancis Bacon, you will arrive at the initial N of the word ' Not,' 
thus keying the signature from the initial at the one end of the 
string to the initial at the other. See diagrams A, D (pp. 297 and 300). 

The acrostic figure here is : — 

Figure 

R 

A 

N 

C 

I 

s 

B 
A 

C 
O 

■ Not 



FRAKCIS BACON 295 

Signature 94. 

Begin again to read from the initial F of the word ' Figure '; to the 
right; on the initials of the words, and of the signature; downwards 
and throughout the verse continuously without a break; imtil you 
have spelled Francis Bacon Visct St Alban Son of Sir Nicholas 
Bacon Ben Ionson Invenit, you will arrive again at the initial T 
of the word ' This,' with which the verse commences. 

This acrostic may be represented in a circular graphic, thus : — 

. ^This Figure R- A-xi ^ 

/ V, 

N Ix 

/ S. 

o c 

/ T 

s s 

' 1 

o ^ 

I L 

I B 

\ A 

N ' 



296 



SOME ACROSTIC SIGNATURES OF 



It may also be represented by a series of definite acrostic figures, 
as thus : — 








N. 



<---- 



6 




1. FRANCIS BACON 

2. VISct St. ALBAN 

3. SON OF SIR (N) 

4. NICHOLAS BACON 

5. BEN lONSON 

6. INVENIT 



These six acrostics give a consecutive reading from the initial F of the word 
' Figure ' to tlie initial T of the word ' This.' 

This Figure, etc. 



FEA]MCIS BACON 297 



Diagram A. 

To the Reader. 

This Figure, chat thou here feefl: put, 

Ic was for gentle Shakefpeare cut. 
Wherein the Grauer hada ftrife 

with Nature, toout-doochelife : 
OjCOuld he but hauedra wne his wit 

As well in brafle, ashe hath hit 
His face , the Print would thenfurpafTe 

All, that was euer writ in bralTe. 
But, fince he cannot. Reader, looke 

Not on his Pifture, but his Booke. 

B. !. 



stanza, or Lines, facing the Droeshout Portrait. 



298 SOME ACROSTIC SIGNATURES OP 



Diagram B. 

To the Reader. 
T F t t h f p 

I vv f g S c 

VV t G h af 

w N to t I 

Oc h b h d h w 

A vv i b a h h h 
H f t P vv t 1" 

At vv e vv i b 
B f h c R J 

N o h P b h B 

B.I. 



Stanza facing the Droeshout Portrait, from which all letters except the initials 
of the words have been erased. 



FRAN^CIS BACON 299 



Diagram C. 


fo the Eeader: — 


T F t t h s p 


Iwf g Sc 


W t G h a s 


wN t o t 1 


c h b h d h w 


A w i b a h h h 


Hf tPw t s 


A t V e V i b 


B s h cR 1 


N o h P b h B 



B. I. 



Stanza facing the Droeshout Portrait, showing the initials of the words in 
their exact relations to one another. 



300 



SOME ACROSTIC SIGNATURES OF 



T 


s 


W 


11 


O 




H 


6 


B 


t 



Diagram D. 

To the Reader: — 

Fetttuhestpt 
ItwsfrgeSect 
teOrhdase 
whNetooote le 
cdhebthedehswt 
Aswl inbeashehhht 
fetePtwdtiise 
Alttvservt in be 
sehectRrle 
NtonhsPebthsBe 

B.I. 



stanza facing the Droeshout Portrait, showing the terminals of the words in 
their exact relations to one another. The line marks off those words which 
overhang. 



FRANCIS BACON 301 





Diagram 


E. 




This Figure 


That Thou Here Seest Put 


It 






Cut 


Wherein 






Strife 


With 






Life 


O 






Wit 


As 






Hit 


His 






Surpasse 


All 






Brasse 


But 






Looke 



Not On His Picture But His Booke 

Stanza facing the Droesliout Portrait, showing the initials of the outside words 
of the verse. 



Diagram F. 

TPIISFIGURETHATTHOUHERESEESTPUT 

I T 

W E 

W E 

O T 

A T 

H E 

A E 

B E 

NOT ON HISPICTURE BUTHIS BOOKE 

stanza facing the Droeshout Portrait, showing the outside letters of the stanza. 



302 SOME ACEOSTIC SIGXATUEES OF 

Signature 95. 

Signatures 95-109 are found in the ' Dedication,' supposedly by tiie 
players Heminge and Condell, to the Earls of Pembroke and Mont- 
gomery. (See pp. 312-813.) 

Note that the initial of the last word of the first line of the address 
is the initial N of the word ' Noble,' and that the initial of the last 
word before the signature of the players is the B of the word 
* bounden.' 

Begin to read from the initial B of the word ' bounden ' ; i;p the 
right-hand side of the two pages of the address ; on the initials of 
the outside words; spelling Bacon, you will arrive at the initial N 
of the word ' Noble.' 

Begin to read from the initial N of the word ' Noble '; down the 
side of the two pages of the address ; on the initials of the outside 
words; siDelling backwards Nocab, you will arrive at the initial B of 
the word ' bounden,' thus keying the name up and down, on identical 
initials. 



The acrostic figure here is : 



Noble 
O 
C 
A 

Bounden 



FKANCIS BACON^ 303 

Signature 96. 

Note that the initial of the last word of the first line of the text of 
the address is the initial F of the word ' for.' (See pp. 312-313.) 

Begin to read from the initial F of this word 'for'; to the right; 
upwards; on the initials of all words; spelling Fka Bacok, you 
will arrive at the initial N of the word ' Noble.' 

The acrostic figure here is : — 

Noble 

O 

C 

A 

B 

A 

R 

For 



Signature 97. 

Begin to read from the same initial F of the word 'for'; to the 
left; upwards; on the initials of the words; spelling Fran Bacon, 
you will arrive again at the initial N of the word ' Noble.' (See pp. 
312-313.) 



The acrostic figure here is : 



Noble 
O 

c 

A 
B 

N 
A 
R 

For 



304 SOME ACROSTIC SIGNATURES OF 

Signature 98. 

Begin to read from the same initial F of the same word ' for'; to 
the left; downwards; on the initials of the words; spelling Fra 
Bacon, you will arrive at the initial N of the word 'name.' (See 
pp. 312-313.) 

The acrostic figure here is ; — 

For 

R 

A 

B 

A 

C 

O 

Name 



Signature 99. 

Begin to read from the same initial F of the same word ' for ' ; to the 
right; upwards throughout the whole page and back again; on the 
initials of the words; spelling Francis Bacon, you will arrive at 
the initial N of the same word ' name.' (See pp. 312-313.) 

The acrostic figure hei-e is : — 

S 

B I 

A C 

C N 

O A 

Name R 

For 



FRANCIS BAC0:N^ 305 

Signature 100. 

Now turn to the second page and note that the initials of the last 

words of the first two lines are j^ of the words t^ . (See p. 313.) 

Begin to read from the initial F of the word ' for,' at the end of 
the second line of the second 2)age ; to the left ; upwards ; back through 
the whole of the first page; on the initials of the words; spelling 
Fra Bacon, you will arrive at the initial N of the word ' Noble,' 
as before. 



The acrostic figure is: 



Noble 

O 

C 

A 

B 

A 

R 

For 



Signature 101. 

Begin to read from the same initial F of the same word ' for,' at 
the end of the second line of the second page; to the left; upwards; 
back through the whole of the first page and back again; on the 
initials of the words; spelling Fravncis Bacon, you will arrive at 
the initial N of the word ' name ' on the first page again. (See 
pp. 312-313.) 

The acrostic figure is : — 

S 
B I 
A C 
C N 

O V 



Name A 

R 



For 



306 SOME ACROSTIC SIGNATURES OF 

Signature 102. 

Begin to read from the initial I^ of the word 'name'; to the left; 
downAvards and over the page; on the initials of the words; spelling 
backwards Nocab F, you will arrive at the initial F of the word 
' for ' at the end of the second Une of the second page. (See pp. 
312-313.) 



The acrostic figure is : — 



Name 

O 

C 

A 

B 

For 



Signature 103. 

Begin to read from the initial N of the word ' name '; to the right; 
downwards and over the page; on the initials of the words; spelling 
backwards Nocab F, you will again arrive at the initial F of the 
word ' for ' at the end of the second line of the second page. (See 
pp. 312-313.) 



The acrostic figure is : — 



Name 

O 

C 

A 

B 

For 



FRANCIS BAC0:N^ 307 

Signature 104. 

B 
We are now fairly on the second page, with the initials B F of the 

words < 1 f.| ' 4 f . ' to guide us, (See pp. 312-313.) 

Begin to read from the initial F of the word ' for ' at the end of 
the second line; to the left; downwards; on the initials of the words; 
throughout the whole of the page and back; sijelling Frauncis 
Bacon, you will arrive at the initial ISf of the word 'name '(in the 
fifth line from the bottom of the text). 



The acrostic figure is : ■ 



For 
R 
A 
V 
Name N 

O C 

C I 
A S 
B 



Signature 105. 

Begin to read from the initial B of the word 'bounden' (above 
the names of the players); upwards; to the right, or to the left; 
on the initials of the words; spelling Bacon, you will find yourself 
at the initial N of the same word * name.' (See pp. 312-313.) 

The acrostic figure is: — 

Name 
O 

c 

A 

Bounden 



308 SOME ACROSTIC SIGNATURES OF 

Signature 106. 

Now turn to the first page again. (See pp. 312-313.) 
Begin to read from the initial F of the word ' for,' at the end of 
the first line of the address; to the right; downwards, and over to 
the second page; on the initials of the words; spelling Frauncis 
Bacon, you will arrive at the initial N of the word ' noble ' (ninth 
line from top, second jiage). 
The acrostic figure is : — 

For 
R 
A 
V 
N 
C 
I 

s 

B 
A 
C 
O 

Noble 

Signature 107. 

Begin to read from the initial B of the word ' Booke,' at the end 
of the first line of the second page ; to the right, or to the left; down- 
wards; on the initials of the words; spelling Bacon, you will 
arrive at the same initial N of the same word ' noble.' (See pp. 
312-313.) 



The acrostic figure is: 



Booke 
A 
C 

O 

Noble 



FEAKCIS BACON^ 309 

Signature 108. 

' Booke ' 
Observe the initials of the words « f . ? at the end of the first two 

lines of the second page of this ' Dedication.' (See pp. 312-313.) 

Begin to read from the initial F of the word 'for'; to the right, 
or to the left; downwards; on the initials of the words; throughout the 
whole page and back; spelling Ffrauncis Bacon, you will, in each 
case, arrive at the initial !N of the word ' name ' (eighth line from 
bottom of page), which is thus keyed in two directions. 
The acrostic figure is: — 

Booke 
For, 
F 
E 
A 
U 
N 
C 
Name I 

O S 

C B 
A 

We have thus foimd the words ' Noble,' ' name,' ' Booke,' 
' bounden,' keyed together in many directions. 



310 SOME ACROSTIC SIGNATURES OF 

Signature 109. 

Now having found our attention attracted by several ciphers 
directed to the word ' Noble ' at the end of the top line of the first 
page, let us look at it carefully, (See pp. 312-813.) 

Let us suppose, as a working hypothesis, that the cipherer had 
noticed the possibilities of the oi'namental head-piece, and had drawn 
a straight line from each arrow, through the first line of the wording 
as can be done in the illustration. You will observe that the lines will 
cut out the words ' To,' and ' Noble.' 

Let us again suppose that our attention is drawn to this word 
' Noble ' in some special way by this trick. The letter B is the 
centre letter of the word. 

Begin to read from this letter B of the word 'Noble'; to the 
right; around the outside letters of the whole of the tioo pages of the 
'Dedication'; spelling Bacono, you will arrive at the letter O of 
the word ' Noble ' ; thus keying the signature through 132 letters. 

For the convenience of readers I show in a diagram (see p. 311) 
the outside letters of these two pages, and have marked the letters of 
the signature in the order in which they fall. 



FRANCIS BACON 311 

The outside letters of the two pages of ^ Dedication^ to the Earls of 
Pembroke and Montgomery. 

TOTHEMOSTNOBLE 



A 




" 


D 


1 






E 


O 






N 


w 






M 


E 






£ 


K 






Y 


A 






D 


P 






P 


E 






S 


B 






R 


o , 






D 


T^ 






S 


R 






E 


W 






R 
L 
E 
£ 
D 


F 






H 


S 






O 


T 






£ 


D 






R 


L 






O 


F 






G 


W 






T 


H 






I 


T 






E 


V 






E 


C 






R 


■s- 






N 


T 






O 


B 






£ 


D 






I 


T 






Y 


A 






M 


B 






S 


W 






H 


A 






O 


A 






E 


-P 






D 


M 






S 


R 






Y 


N 






I 


N 






H 


T 






H 


M 






D 


T 






O 


Y 






T 


W 






N 


H 






O 


S 






s 


Y 






N 


I 






E 


HEN 


R Y C N D 


ELL 




TO THE MOST NOBLE 

And 
INCOMPARABLE PAIRE 

OF BRETHREN. 

Will ia m 
Earleof Pembroke, &c. Lord Clidmberlaine to tKc 
Kings mojl Excellent <i5\d^aiejlj. 

AND 

Philip 

Earle of Monrgomery, <Scc, Gentleman ofhisMaiefties 

Bed-Chamber. Both Knights of the moftNobleOrder 

of the Garter, and our fingular good 

LORDS. 

RiVlit Honourable, 




iHiljlwejludic to he thankful hi our p^rtlcHlarJof 
the many fauors Vi>e haite rccciucd from jour L.L 
rt>e arefalne-j vponthe ill fortune, to mingle^ 
ttpothe mojldmerfe things that can beCyfedre, 

..^^ andraJJmeJp • rafhnejje in the enterprise, and 

jeare of the fuccejp. For, rt>hen ive valetf the places jour H.H. 
jtijiaine,yiQ cannot hut knOVd their dignitj greater, then to defcendto 
the reading ofthefe tri/les:and,'while voe name them trijles,ive haue 
depriu'd our Jellies of the defence of our Dedication, '^utfincejour 
L>L. haue heempkasd to thinly thefe trifles fomeAhing, heereto^ 
fore -and haue prcfe^uuted both them, and their ajTuthourliuing, 
yi>ithfo mtichfauour : ree hope,that(thej out-liuing him, and he not 
hauing the fate, common Xfithfome, to be exequutorto his oxvne wrr- 
^i'^gO->'^^ Ti'/Z/'y/^ the li^ indulgence torpardthem-j,jou haue done 

e// z vnto 



The Epiftle Dcdicatorie. 
vnto their parent. There is a great difference ^rPehether any 'Boo^ 
chooje his Tatrones, or fnde therrLj : 7 his hath done both. For, 
fo , muchn>ere^your L L. lih^ngs of thc^ feuerall parts, tmhen 
they roere ailed, a^ before they vverepublijhed, the Volume asl(dto 
beyours. We haue but collected them-,,and done an o^tcc-j to the 
dead^ to procure his Orphanes, Guardians -^ irvithout ambition ci^ 
ther offelfe^proft, or fame : onely to l{cepe the memory ojfo "worthy 
a Friend,(^ Fellow aliue,as ivas our Shakespeare, /y' hum^ 
hie offer of his play es^ toy our mojl noblc-j patronage. IV herein, as 
Ta>e haue iujlly objerued-, no man to come neereyour L.L. but with 
a klndofreligiousaddrejjk-^khath bin the height of our care, who 
are the Trefenters^tomal^ theprefcnt rvorthy of your H. H. by the 
perfeBion .'But, there yve mujl aljo craue our abilities to be confideri, 
my Lords. We cannot go beyond our ovonepovners. Country hands 
reach foorthmilk^,creame, fruites , orvohal they haue : andmany 
S\Qttions(^ive haue heard^ that hadnotgummes c^ incenfe,obtai' 
tied their re^uefs with a leauenedCa^e. Jtyvas tw fault to approch 
their ^ods, byv^hat meanes they could: ^ndthe mojl, though 
meanejl, of things are made moreprecious,'when they are dedicated, 
to Temples. In that name therefor^, tvemojl humbly confecrate^ to 
jour H.H. thefe^ remaines ofyourferuant Shakefpeare • that 
VDhat delight is in them->, may be eueryour L.L. the^ reputation 
his,^ the faults ours, if any be committed, by a payre_,focarefullto 
Jher» their gratitude both to the liuing,andthe dead^ as is 



Your Lordflifppes moft bounden. 



John Heminoe. 

H&NKY C0ND£l,U 



314 



SOISIE ACROSTIC SIGNATURES OF 



Signature 110. 

This acrostic is found in the address To the great Variety of Read- 
ers, which follows the '■ Dedication ' to the Earls of Pembroke and 
Montgomery. (See p. 321.) 

To prepare the reader's mind let me transliterate Bacon's name. 
The name contains this alphabet A. B. C. O. N. Here it is translit- 
erated on each letter. 



B N 


C A 


B 


N C 


A 


A 


B 


C 





N 


C 


N 


N A 


A B 


B C 



This is a simple transliteration as it was known to the cipherers of 
the Elizabethan times. (See Selenus, Cryptomenylices, pp. 82, 174, 
175, 262.) 



Note the large monogram 




and the letters which adjoin it. 

Now use your knowledge of the transliteration table given above, 
and complete the transliteration of the letters which depend from 
the monogram. You will immediately get 




that is to say you will have Fr Bacon, staring you in the face. 

Now begin to read from the initial B of the word ' braines,' the 
second word below the monogram; upwards; on the initials of the 
outside words of the page of text; round the page; spelling Bacon, 
you will arrive at the initial N of the word ' not,' which is immediately 
below the word ' braines,' from which we started. 



FRANCIS BACON^ 



315 



I give this diagram to show how the signature is keyed around the 
page on the initials of the outside words, to the full name. 




Rom the most able, to him that can but spell : 



commend 
°braines 
onot 
lings 
come 
or 
on 

know 
peales 
then 
It 
the 

writings 
parted 
of 

haue 
stolue 
and 
are 
the 
a 

and 

easinesse 
But . 
you 
your 
you 

therefore 
surely 
we 

guides 
And 



such 



Readers 



we 



wish 



There 

weighd 
up- 
alone 
you 
read, 
best 
your 
spare 
shil- 
wel- 
Trade 
sit 

dailie, 
Ap- 
Court, 

commendation, 
that 
°owne 
de- 
office 
to 

diuerse 
frauds 
those, 
all 
was 
mind 
that 
papers, 
them 
to 

hold 
him 
him, 
so 

your 
others, 
him. 



The letters involved in the signature are marked by a circle. 



316 



SOME ACROSTIC SIGNATURES OF 



Signature 111. 

Now begin to read from the monogram 
downwards; on the initials of the words; 




to the right; 
spelling Fravn- 



cis Bacox, yon will arrive at the initial IS" of the word ' not ' again, 
and thns keying the cipher. (See p. 321,) 



The acrostic figure here is : — 




Rom 



R 
A 
V 

C 
I 

s 

B 
A 

C 

o 

Not 

This signature will also run if spelled backwards. Begin to read 
from the initial N of the word ' not'; to the right; upwards; on the 
initials of the words ; spelling NocAB Sicnvarf, you will arrive at 
the large initial F, and key the former signature between the same 
points. 

This signature will also run forwards or backwards on the termin- 
als — that is to say, on the first and last letters of every word, if it 
is spelled between the same end letters. 

Signature 112. 

This page is like the ' Dedication ' to the Earls of Pembroke and 
Montgomery in that the signature is arranged to read on the outside 
letters also. (See p. 321.) 

Begin to read from the initial B of the word ' braines,' on Avhieh 
we began the last cipher but one (No. 110); upwards; on the outside 
letters of the page; including the title and including or excluding 
the Henrie Conddl; spelling Bacox, you Avill find that in order to 
spell it you Avill be again obliged to arrive at the initial N of the word 
* not,' having completely encircled the page. 

On the next page I give the outside letters of the page with those 
letters marked which are involved in this cipher. 



FRANCIS BAC0:N^ 317 

The last line is given with both the last line of the text and the 
name Henrie CondeU, so that the reader may take both and see for 
himself that the result will be the same whichever he uses. 

Diagram. 
T OTHEGREATVARIETYOFREADERS 

Jj ... A(are) R(rather) D - 

■ • V(vp) P 

. • . C(capacities) N(not) E - 

Kit) U 

. S(stand) D - 

B(but) T 

C(comineiid) • A(a) R - 

- Braines 0(or) E 

* N(not) L - 

L L 

C E 

O T 

E 
K P 
P T 
T N 

1 T 
T E 
W E 
P E 

O 
H E 

s s 

A E 

A L 

T S 

A D 

A T 

E S 

B M 

Y O 

Y D 

Y M 
T M 
S O 
W R 
G S 

ANDSUCHREADERSWEWISHHI M 

1 g 

HENRIECONDEL !.L 



Diagram showing the signatures of Feavncis Bacon from the large F to the 
initial N of the word ' not ' ; and the way the signature is keyed by reading from 
the initial B of the word ' braines ' ; upwards ; around the whole page ; on the ot(t- 
side letters of the page ; spelling Bacon, and ending again on tlie initial N of the 
word ' not.' 



318 SOME ACEOSTIC SIGNATURES OF 

Signature 113. 

This acrostic is also found in the address To the great Variety of 
Readers. (See p. 321.) 

Begin to read from the large initial F, to the right; downwards; 
on the terminals of all the words of the address; spelling Ffravn- 
cis Bakon Verulam of Verulam, you will arrive at the term- 
inal M of the word ' him,' which is the last word of the address. 

The reader must remember that in this acrostic the V in Verulam 
is a V in the facsimile, but that the U of Fravncis and Verulam may 
be U or Vin the facsimile. The acrostic will not be found miless this 
is kept in mind. 

The acrostic figure here is : — 



F. 



R 
A 
U 

C 
I 

s 

B 
A 

R 
O 

N 
V 
E 
R 

U 
L 
A 
M 
O 
F 
V 
E 
R 
U 
L 
A 
And such Readers we wish hiM 

Compare this signature with that in Venus and Adonis. 



F 



FRANCIS BACON 319 

To the great Yariety of Readers. 

Diagram of the typography showing the terminals in large type. 

voM ThE MosT AblE, TO HiM ThaT CaN BuT SpelL : Thei E 
YoU ArE Number'D. WE HaD RatheR YoU WerE WeighD. 
EspeciallY, WheN ThE FatE OF AIL BookeS DependS VP- 
ON YouR Capacities-. AnD NoT OF YouR HeadS AlonE, 
BuT OF YouR PurseS. WelL ! IT IS NoW PubliquE, & YoU 
WiL StanD FoR YouR PriuiledgeS WeE KnoW: TO ReaD, 
AnD CensurE. DO SO, BuT BuY IT FiisT. TliaT DotH BesT 
CommeiiD A BookE, ThE StationerR SaieS. TlieN, HoW OddE SoeueR YouR 
BraineS BE, OR YouR WisdomeS, MakE Your LicencE ThE SamE, AnD SparE 
NoT. ludgE YouR Sixe-Pen ortH, YouR SliillingS WortH, YouR FiuE SiiiL- 
LingS WortH AT A TimE, OR HigheR, SO YoU RisE TO ThE lusT RateS, AnD WeL- 
ComE. BuT, WhaT EueR YoU DO, BuY. CensurE WilL NoT DriuE A TradE, 
OR MakE ThE lackE GO. AnD ThougH YoU BE A MagistratE OF WiT, AnD SiT 
ON ThE StagE AT Black-FrierS, OR TliE CocK-PiT, TO ArraignE PlayeS DailiE, 
KnowE, ThesE PlayeS HauE HaD TheiR TrialL AlreadiE, AnD StooD OuT AIL AP- 
PealeS ; AnD DO NoW ComE FortH QuitteD RatheR BY A DecreE OF CourT, 
ThaN AnY Purchas'D LetterS OF CommendatioN. 

IT HaD BenE A ThinG, WE ConfessE, WorthiE TO HauE BenE WisheD, ThaT 
ThE AuthoR HimselfE HaD Liu'D TO HauE SeT FortH, AnD OuerseeN HiS OwnE 
Writings ; BuT SincE IT HatH BiN Ordain'D OtherwisE, AnD HE BY DeatH DE- 
ParteD FroM ThaT RighT, WE PraY YoU DO NoT EnviE HiS FriendS, ThE OfficE 
OF TheiR CarE, And PainE, TO HauE CollerteD & Publish'D TheM ; AnD SO TO 
HauE Publish'D TheM, AS WherE (BeforE) YoU WerE Abus'D WitH DiuersE 
StolnE, AnD Surreptitious CopieS, MaimeD, AnD DeformeD BY TliE FraudS 
AnD StealtheS OF IniuriouS ImpostorS, ThaT Expose'D TheM : EueN ThosE, 
ArE NoW Offer'd TO YouR VieW Cur'D, AnD PerfecT OF TheiR LimbeS ; And AIL 
ThE ResT, AbsolutE IN TheiR NumberS, AS HE ConceiueD TliE, WhO, AS HE WaS 
A HappiE ImitatoR OF NaturE, WaS A MosT GentlE ExpresseR OF IT. HiS MinD 
AnD HanD WenT TogetheR: AnD WhaT HE TlioughT, HE VttereD WitH TliaT 
EasinessE, TiiaT WE HauE ScarcE ReceiueD FroM HiM A BloT IN HiS PaperS. 
BuT IT IS NoT OuR ProuincE, WhO OnelY GatherR HiS WorkS, AnD GiuE TheM 
YoU, TO PraisE HiM. IT IS YourS ThaT ReadE HiM. AnD TherE AVE HopE, TO 
YouR DiuerS Capacities, YoU WilL FindE EnougH, BotH TO DraW, AnD HolD 
YoU : FoR HiS WiT CaN NO MorE LiE HiD, TiieN IT CoulD BE LosT. ReadE HiM, 
ThereforE ; AnD AgainE, AnD AgainE : AnD IF TheN YoU DoE NoT LikE HiM, 
SurelY YoU ArE IN SomE ManifesT DangeR, NoT TO VnderstanD HiM. AnD SO 
WE LeauE YoU TO OtlierR OF HiS FriendS, WhoM IF YoU NeeD, CaN BeE YouR 
Guides : IF YoU NeeD TheM NoT, YoU CaN LeadE YouR SelueS, AnD OtherS. 
AnD SucH ReaderS WE WisH HiM. 

A3 lohn Heminge. 

Henrie Condell. 




To the great Variety of%eaderr. 

Rom the mod able^to him that can but fpell: There 
you are numbcr'd.We had rather you were weighd. 
Efpecially, when thefate of all Bookes depends vp- 
j on your capacities : and not of your heads alone, 
butofyour purfes. Well !Itisnowpubhque,& you 
wllftand for your priuiledges wee know: to read, 
^andcenfure. Dofojbutbuyitfirfi. That doth beft 
commend a Booke, the Stationer faies. Then^how oddefoeueryour 
braines be, or your wifedomes, make your licence the fame,and fpare 
liot. ludgeyour fixe-pen'orth, yourfhillings worth, your fiue fhll- 
lings worth at a time/ or higher, foyou rife to the iuft rates, and wel- 
come. But,whateueryoudo, Buy. Cenfure will not driue a Trade, 
ormake thelackego. And though you be a Magiftrate of wit, and fit 
on theStageat 'BlacK-Frkrsy orthe (jck-pit, to arraignePlayes dailie, 
know, thefe Playes haue had their triall alreadie, and flood out all Ap- 
peales ; and do no w come forth quitted rather by a Decree of Court, 
then any purchas'd Letters of commendation. 

It had bene a thing, we confefle, worthie to haue bene wifbedjtliat 
the Author himfelfe had liu'd to haue fet forth, and ouerfeen his owne 
writings,- But fince it hath bin ordain'd otherwife,andheby death de. 
parted frorii that right, we pray you do not envie hisFriend$,the office 
of their care', and paine, to haue colleded & publiflVd them; and fo to 
hauepubliCh'd them, as where (before) you were abus'd with diuerfe 
ftolne, and furreptitious copies, maimedjand deformed by the frauds 
'and ftealthes of iniurious impoftors, that expos'd them : euen thofe, 
are now oflTer'd to your view cur'd, and perfed: of their limbes; and all 
the reft, abfolute in theirnumbers, as he cqnceiued the.Who,as he was 
a happie imitator of Nature,was a moft gcnde pcprefler of i t.His mind 
and hand went together: And what he thought, hevttered with that 
eafinefTe, thatweehauefcarfereceiuedfromhimablot in his papers. 
But it is not our prouince,who onely gather his works, and giue them 
you, topraifehim. It is yours that reade him. And there we hope_,to 
your diucrs capacities, you will findc enough, both to draw, and hold 
you : for his wit can no more lie hid, then it could be loft. Reade him, 
therefore 5 and againe, and againe : And if then you doe not like hint, 
furcly you arc in fome manifeft danger, not to.vnderftand him. And fo 
we le;iueyou to other of his Friend% whom if you need, can bee your 
guides : if you neede them not, you can leadcyour felueSjand others. 
And fuch Readers we wilbhim. 

/i J IthrtUemiage. 

iienrie Cen^ell, 



322 SOME ACHOSTIC SIGNATURES OF 

Signature 114. 

This acrostic is found in the poem signed by Ben Jonson, and 
addressed To the memory of my heloued, The A VTIIOR 3fr. V Vil- 
liam Shakespeare: And what he hath left vs. (See pp. 324, 325.) 

The first thing to be noted here is that the word 'AYTIIOR' is 
printed in capitals. 

The second thing to be noticed is that the initials of the last word 

IS" 
of the first and the second lines of the poem are ^ of the words 

^p , which are the first and the last letters of the name 'Francis 

Bacon.' 

I have marked off the outside words of the whole poem. There are 
172 words in all. 

Begin to read from the initial iST of the word 'name'; to the left; 
on the initials of the outside words of the poem; spelling backwards 
the name Nocab Sicnarf, i. e. Francis Bacon, you Avill ai-rive at 
the initial F of the word ' Fame,' having keyed the signatui-e com- 
pletely around the jjoem, on the initials. 

The acrostic figure here would be a circular graphic, but I have 
thought best to show the actual diagram of the words. 



FEANCIS BACON 



323 



Diagram showing the initials of the outside words of Ben Jonson's 

comj)limentary poem. 



To Draw No Euuy (Shakespeare) On TUy 

Am 

While 

As 

Tis 

Were 

For 

Which 

Or 

The 

Or 

And 

These 

Should 

But 

Above 

I 

Tlie 

My 
' Chaucer 
' A 

Thou 

And 

Aud 

That 

I 

For 

I 

Aud 

Or 

And 

From 

For 

Euripides 

Paocuuius 

To 

And 

Leaue 

Of 

Sent 

Triumph 

To 

He 

And 

When 

Our 

Nature 

And 

Which 

As 

The 

Neat 

• But 
As 
Yet 
My 
For 
His 
Who 

• Such 
Upon 
And 
Or 
For 
And 
Liues 
Of 

• In 
In 
As 

Sweet 
To 
And 
That 
But 

Aduanc'd 
Shine 
Or 

Which 
And Despaires Day. 



Name 

Fame 

Such 

Much 

Wayes 

Praise 

Light 

* Right 
" Aduance 

Chance 

Praise 

Raise 

Whore 

More 

Indeed 

* Need 
Age 
Stage 
By 
Lye 
Roome 
Tombe 
Line 
Giue 
Excuses 
Muses 
Yeeres 
Peeres 
Out-shine 
Line 
Greeke 
Seeke 
Aeschilus 
Us 
Dead 
Tread 
On 

Comparison 
Rome 
Come 
Showe 
Owe 
Time 
Prime 
Warme 

* Charme 
Designes 
Lines 
Fit 
Wit 

Aristophanes 
Please 
Lye 
Family 
Art 
Part 
Be 
He 
Sweat 
Heat 
Same 
Frame 
Scorne 
Borne 
Face 
Race 
Shines 
Lines 
Lance 
Ignorance 
Were 
Appeare 
Thames 
lames 
Hemisphere 
There 
Rage 
Stage 
Night 

But For Thy Volumes Light 




To the memory of my beloucd, 

The AVTHOR 

Mr. William Shakespb a rf ; <^ 
And 
what he hath left vs. 

drsw no enuy ('Shakcfpeare) en th) name. 
Am 1 thus tnifU 19 thy Bcfke, and Fame : 
(VhiU I (mfeffe thy tvritings to befuch, 
Ai neither Man, mr Mufe, cunprai/i too much, 
'Til true^ and all mens ^u^age. But thcfitct-tes 

Were not the paths 1 meant vntothypraife: 
Fcrfeeliep Igturante on thefe may light, 

Whith^ when it founds at bejljiut etcho't right j 
Or bltnde AffeBion^ which doth tu're aduante 

The truth^ hut gropes^ andvrgethall by chantti 
Or crafty Malice^ might pretend this pruife. 

And thinke taxuine^ where itfiem'dto rttft, 
Thefe are^ Mfom tnfametM Baiidy or tfhore^ 

should prtife a Mttrm. What could hurt her mare f 
tut thou art prxfe agtinfi thtm^ and indeed 
About th'tU fortune of them, or the need, 
I, therefore it ill begin. Soule of the Age I 

The apptaufe '.delight \ the wonder of our Stage ! 
Mj Shakefpearc, rife., I will not lodge thee by 
Chaucer, or SpenferjCr^zWBeaumoDt Ijf 
^ little further, to make thee a roome : 

Thou art a Moninttnt. rait-lf^^t a tombe. 
And art aliue ^ill, tthile thy Booke doth Hue., 

And we haue Witt to read, andpraife to glut. 
That I not mixe theefo, my brain e excufes ; 

1 meane with great, but difprtportion'd MuffS : 
For, if I thought my iudgement were ofyeeres, 
I fhould commit thee fiirety With thy pceres. 
And tell, hffwfirre thou didUft our Lily out-fhine^ 

Orfperting Kid , or Marlowcs mighty line, 
jind though thou had^fmall L atine, and leffe Grcekc, 

From t hence to honour thee, Itvculdnttfeeke 
For names; hut call forth thund'ring ./Efchilus, 

Euripides, and Sophocles to vs , 
Paccuuius, Accius, him #/Cordou J deai.^ 

To life againe, to he are thy Bitskin tread, 
.And (bate a Stage : Or, when thy Sockes were oi»y 
Lcaut thee alone, fir the comparifen 



v 



i 



FRANCIS BACON 325 



OftM,thiit infoteitt Greece, er hmgbtie Rome 
fetitforth^ orfittce did from their afbes come, 
triurnfh^ my Britainc, thou hajl on* topiewe^ 
To -whom All Scenes */TEurope homage ewe. 
BtXSasnoF<if*n4ge, hutftrdltime \ 

Andallthe Muks/lillwere/n their primes 
when like Apollo he tame forth to mar me 

Cttr earet, or like a Mercury /* charme \ 
^{itureherfelfe wtu proud of his dejignes^ 

Andiey'dto rveare the drefsing of his lines \ 
which Tserefi richly fpiin, andwouenfofit^ 

Asjince, ^e xvillvouchfafe no other Wit. 
Themerrj Grccke,'/i«r/ Ariftophanes. 

Neat Terence, witty Plautus, manotpleife; 
"Btit antiquated, and^eferted lye 

As they were not of Natures family. 
Yet Ttiufl I nctgiue Nature all ; Thy Art^ 

My gentle Shakefyaitc,mit/lenioyapart. 
Tor though the Poets matter. Nature be^ 

His Art dothgiue thefafliion. And, that he, 
who cafts to write a lining line, muftfiveat, 

(fuch as thine ere) andjlrike thefecondheat 
ypon the Mufes anuile .■ turne the fame, 

{And himfelfe with it) that he thinkes to frame ; 
Or for the Itmrell^ he may gttne afcorne^ 

For a good Poet's madcy as well as horne. 
And fuch aert thou. Locke how the fathers face 

Liuesinhis i{fue~euenfo^therace 
<yShakc(peares minde^ ind manners bristly pities 

inhiswelltorned^ and true filed lines ; 
Jn each of which, hefeemes tofbake a Lance, 

As brandijh't at the eyes of Ignorance. 
Sweet Swan of Auon'- what a fight it were 

To fee thee in our waters yet appear e^ 
And make thofe flights vpon the bankes of Thames, 

ThatfedidtakeElizi^andourlimes ! 
But ftay^I fee thee inthe Hcmifphcre 

Aduancd, and made a Conjlellaticn there • 
shine forth^thtu Starre of Poets, jindviith rage. 

Or influence^chide^or cheer e the drooping Stage ; 
which, fince thy flight fio hence ^hath mourn d like nighty 

And defpairts da/y buffer thy Volumes light. 



Ben: Ionson. 



326 SOME ACROSTIC SIGN^ATUEES OF 

Signature 115. 

This irregular acrostic is found in the poem signed by one L. 
Digges; and addressed To The Memorie of the deceased Authour 
Maister W. Shakespeare. (See p. 329.) 

It is remarkable only in that if you begin to spell from the initial 
B of either ' Be ' or ' But,' which begin the last two lines; to the right 
or to the left; on the initials of the words; ujjwards and continuously 
until you have spelled Bacon, you will arrive at the initial N of the 
word ' name ' each time you complete the spelling of the name itself. 

The acrostic figure here in each of the four spellings is : — • 



O 

C Name. 



A C 
A 



Be 
But 



Signature 116. 

It is worth recording that if you begin to read on the first letter 
N in the first line of this poem by Digges ; to the right ; downwards; 
on all letters of all words ; spelling Nocab Sicnuakf, you will arrive 
at the initial F of the word ' fraught ' : and that if you then begin 
to read from the last letter N of the last line; to the left; upwards; 
spelling NoCAB Sicnuarf, you will again arrive at the initial F of 
the word ' fraught,' thus meeting on the common letter F, having 
spelled the name from the last letter N at either end of the string of 
letters. 



FEANCIS BACON 327 

The acrostic figure here is : — 

Shake-speai-e, at leN 
O 
C 
A 
B 
S 
I 

c 

u 

A 

R 

wit= Fraught 
R 
A 
U 

C 
I 

s 

B 
A 
C 
O 

Hue eternally. 

Compare this acrostic with those in the poems by Holhmd and 
I. M. 



328 SOME ACROSTIC SIGNATURES 

Sigiialure 117. 

It is worth recording that if you begin to read from the last letter 
N on the first Hne of the poem signed I. M. to the left; downwards; 
on all the letters of all the words; spelling IS^ocab, you will arrive at 
the letter B of the word 'but'; and that if you begin to read from 
the last letter N of the last line; to the left; upwards; spelhng 
NoCAB, you will again arrive at the same initial B of the same word 
' but,' thus keying the name from the last letter N at either end of 
the string of letters to the common letter B of the same word ' but.' 

The acrostic figure here is : — 

sooNe 
O 
C 
A 

But forth 
A 
C 
O 
Re-entraNce to a Plaudite. 

Compare this acrostic with the previous one. It is the same device. 




TO THEMEMORIE 

of the deceafed Authour Maifter 

W. Shakespeare. 

tHake-fpeare, at length thy pious fellowes giue 
\The world thy Workes: thy Workesjjy which, out ■Hue 
^Thy Tombe, thy name mujl • when thatjlone is rent. 
And Time dijfolues thy Stratford Moniment, 
Here TDealme fhall 'view theejlilL This 'BookSy 
Whin 'Brajje and Marhle/ade^p^all inake thee looke 
Frejh to allJges: when 'Pojleritie 
Shall loath what's neTt>^,thinke all isprodegie 
That MHorShake-fpearcsjfM'ry Line^eachVerJe 
Here (hall reHiue,redeeme thee from thy Herfe. 
tior Fire, nor cankrmg Age^as Naib/aid, 
Of his, thy Tuit'fraught 'BookeJhaB once inuaJe. 
"Norjhall le're belceue, or thinke thee dead 
(Though mifl)cvntill our bankront Stage hefped 

(Jmpofsible) with fame nfii ftrainet'out-do 
4*afsions ofluliQt/ind herKomeo ; 

Or till J heare a Scene more nobly take, 

Then T»hen thy half Sword parly ing Komans fpakf. 

Till thefe, till any of thy Volumes reft 

Shall with more fire,more feeling be expreft, 

'Befure^ Shake=fpeare, thou canji neuer dye^ 

'But croTund with La'»rell,liue eternally. 

L.Digges. 
To thememorie ofM..iy.Sha^'Jpeare, 

\r\TEE, wondred{Shkc-{fCZx€)thatthoH went'ftfofione 

From the WorUs-Sta^jtothe Crauep-Tyring-rome. 

Wee thought thee dead, but this thy printed "borth, 

Tels thy SpeSlatorsjthat thouTbentJl but forth 

To enter Tvith applaufe. An ABors Artf 

Qan dye,and liue,to a&eafecondpart. 

That's hut an Exit ofMortalitie ; 

This,a '^■entrance loa TUudite. 

L M. 



330 SOME ACROSTIC SIGNATURES OP 

Signature 118. 

It is worth recording that if you begin to read from the first letter 
N in the first Hne of the poem by Hugh Holland, to the right; down- 
wards; on all the letters of all the words; spelling Nocab Nakf 
(=Fran Bacon), you will arrive at the letter F of the word 'of ' ('Globe 
of heau'n'): and that if you begin to read from the first letter N of 
the last line of the poem; to the right; upwards; on all the letters of 
all the words; spelling Nocab Narf (=Fran Bacon), you will again 
arrive at the same letter F of the same Avord 'of ' (' Globe of heau'n'), 
thus keying the signature from the last letter N at either end of the 
string of letters to a common centre F of the word ' of.' 

The acrostic figure here is : — 

Those haN 
O 
C 
A 
B 
N" 
A 
R 
Globe oF heau'n 
R 
A 

B 

A 
C 
O 

The fife yet of his liNes 

Compare this acrostic with those in the poems by Digges and I. M. 



FRANCIS BACON" 



331 




Vpon the Lines and Life of the Famous 

Scenicke Poet, Mafter W i l l i a m 

SHAKESPEARE. 

Hofc hands, which you foclapr, go now, and wring 
You Br it Aims braucj for done arc Sbakefpeares daycs : 
His dayes arc done, that made the dainty Playes, 
Which madethe Globe ofheau'n and earth to ring. 

SDry'dcisthatvcine,dry'dis the Tfjtjpian Springy 

Turn'd all to teares,and P/j^eh/is clouds his rayes : 
That corp's, that cofBn now bcftickcthofebayes. 
Which crown'd him Poef firft, then ?c<f/j King. 
\( Tragedies might any Prologne hauc, 
Allthofe he made, would (carfe make one to this : 
Where Fame, now that he gone is to the grauc 
(Deaths publique tyring-houfc^ the Nunciusls. 
For though his line of life went fooneabouc, 
The life yet of his lines fhall neuer out. 




HVGH HOLLAND, 



332 SOME ACROSTIC SIGNATURES OF 

Signature 119. 

This is perhaps the proper phice to show the acrostics which are 
to be seen in the lines on the Monument at Stratford-on-Avon. 

Begin to read from the initial S of the first word of the first line ; 
to the right; doAvnwards; on all the letters of all the words; spelling 
St Alban, yon will arrive at the initial N of the word 'name.' 
Then continue to read from the initial N of the word ' name '; to the 
right or to the left; downwards throughout the rest of the lines and 
back again; spelling Nocab Sicnuakff, you will arrive by either 
route at the initial F of the word ' fast,' which is the last word of the 
first line. 

The acrostic figure here is : — 

Stay Fast 

A ^ 

B ^ 

A A 

: whose N^ame doth deck y Tombe, 
O U 

C N 

A C 

B I 

S 

I was led to the discovery of this acrostic by the hypothesis that 
there might be a double entente in the words — 

Stay 
Read 
With in. 



FRANCIS BACON 



333 



JvDICDPyLIVM. GENIO SoCRATEM.ARTE MaRONEM 

Terra tegit.popvlvs m/^ret. Olympvs habet 

Stay Passenger why goest ihov bv so fasT/ 
read if tia/ canst, whom envio/s death hat1 plast, 

Wm IN TilS MONVTENT 5HAKSPEARE: W1T^ ^J/HOME . 
qyiCK NATVRE DIDE:WHOSE NA^E.DOTI DECK t TOMBE .' 
B\R MORE .ten COST: 5lEH ALL .'V HE HAT4 WRI TT. ! 

Leaves living art.bvt mcE.To serve his witt. 

OBIIT ANO do' I I 6 I 

A.TATI.S rj Dlt X-i/J>- 



334 SOME ACROSTIC SIGXATURES 

Signature 120. 

This acrostic is found ou the first page of The Tempest. It was 
shown to me bv mv friend Mr. W. L. Stoddard. 

Xote the large 1^ with which the first line of the play opens. 

Begin to read from the large initial |-^ downwards and all the 

way around the first column ; on the outside letters of the text ; spell- 
ing Bacoxo, tou will arrive at the capital O. or cipher, which is 

next to the large iuitiiil r-^. 

It is" easier to show this by a diagram than by an acrostic figiu-e. 



B 



O T E S W A I X E 

£ 
L 

T D 

B £ 

H S 

Y S 
W E 
N H 
G A 
S N 
I W 
W N 
D R 
K E 
N T 
W A 
R E 

V T 

G D 

N E 

A I 

L T 

H T 

G R 

S - £ 

H R 

W Y 

I S 

H N 

I N 

G R 

O E 

H E 

D R 
BRIXGHERTOTRY^riTHMAINECOrRSEAPLAGUE 




THE 

TEMPEST. 



<kA Uh! primus j Scena prima ^ 



^lemft(lium neife tfThiader Md Lightning hitri : Ern 
ter 4 Shr} ■ mtjter^ trnd 4 Bcttfw*i»t^ 

Mtjftr. 

«g^ £«r/: HeereMafler;Whitcli«te> 
S©JB Miji. Good.-Spciketoih'Marincrs: fall 
"•^""^too't, yately , otweiun out fdues a ground, 
beftincjbcnine. £.^<'. 

Emir {^urmpi, 

detef. Hcigti my hearts, cheerely, cticetely my liarts : 
yare.yare :Takein thetoppe-faie :.Tend to th'Maftcrs 
>Nhinic:Blawtillihoubuill chywinde, if tootnc C- 
Dough. 

Cnttr Almfo, SthJfiM, Arthtiiit,f(riiaiiiiiU, 
Ccr:t,atOitndtihtrit 

Mom. Good Botefwainc hauc care : whctc*s Jic Ma- 
(let? Play the men. 

'Soief. I pijynow Vcepebelow, 

jlmh. Where is the Mirter, Bofon ? 

Stief.Doyoa not heatehim ? you rharre our labour, 
Keepeyour Cabines : you do afsjfl ihc florme. 

Cem„ Nay, good be patient. 

Baif. When the Sea is : hence, what cares thefe roa- 
rers for the name of King ? to Cabiue; fiUncc j trouble 
Vinoi. 

Cca, Good, yet remember whom thou had aboord. 

Betef. None that I more loue then iry felte. You ate 
a Counfcllor,if you can command ihefe Elements to fi- 
lence, and workc the peace of the prefent, wee will not 
hand arope more, vfeyourauihoritie: If you cannot, 
eiue thankesyou haueliu'Jfo long, and male your 
lelfe teadie in your Cabine for the mifchance of jhe 
hourc, if it fohap. ChceicJygooJhcaits : out of our 
way I fay. Exit. 

GtH. I haue great comfort from this fellowrmeihinks 
he hath ho drowning matke vpon him, his complexion 
isperfciS Gallowcs : rtandfaft good Fate to his ban- 
ging, make the rope of his dertiny cur cable, forout 
owne doth little aduantagc: Ifhc be not borne to bee 
b>pg'd,outcafeismireTable. Exu. 

Ent'tr "Botefttdiite. 

ftrWDownewith thetop-Maft :yare,Iower,lower, 
bring her to TtywithMaine-courfe.Apl»g«e— — 
^aj wHiiiu Enter Stiiijlim, AntbetU 0- g»tftAlf. 



vpon thishowling: they are lowder then the weather, 
orourofliceiyet3gains?WhatdoyouhfererShalwe 
giue ore and drovvne,haue you a minde ;o finke ?. 

Schf. A poiie o'yout tbtoat,you bjwling, klafphc- 
nicus inchDritablcDog. 
"Sctef. VVoikc you then. 
.Amh. Hang cur.hang.you vvhoreion infolcRt Noyfe- 
maker.we are IcfTc afraid to be drownde.then thou art. 
^«*. lie warrant him for drowning, thoLgh the 
•Ship were no flrcnger then a Nuii-lbcH, iod as Icalv at 
•an vnftanched wench, 

£or<r/:LayhcrahoId,ahoM, fethertwo cowfesoff 
to Sea agaiac,lay her off. 

Enter Mjrmiri vet. 
^/o-i All Ion,toprayert,toprayers,rn loft, 
'Bcte/^ What muft out mouths be cold? 
Cciz-.Tht King.and Ptince,atpr3yets,Iet't aflift tliem, 
for our cafe is as theirs. 
Schf Tamoutofpauence. 
^n. VVe are meetly cheated of our liucs by drunVards, 

This wlde-chopt-rafcall,would thou roightft lye drow- 
ning the wafhing often Tides. 

CMt, Hcc'l be hang'd yet. 
Though euery diop of water fwcare againft it. 
And ga[.e at widft to glut him. jiCii:fHfedntjfitfilhiii, 
Mercy on vs. 

Wc fplit,we fplit , Farewell my wife, and childtCD, 
Fitcw cU brother : we fplit,we fplit,we fplit, 

jixth. Let's all fmkc with' King 

S:k Let's take Icaue of him. 'Exit. 

Cmt.. Now would I giue a thoufand furlongs of Sea, 
fv-Tan Acre of barren ground.- Long hcaih, Browne 
firrs , any thing; the wills abouc be done^ but I Y.ould 
faine dy e a drj death. Exit, 

ScenaSecunda. 

Enter 7rejferc and AfiTAxi^, 
Mht. If by your Art (my deetcft father^ you haue 
■put the wild waters iti this Rotejalay them: 
The skye it fceaies would powte down ftintingfittb, 
But that the Sca.motmting to th' welkins cbecke, 
Daflies the fire out. Oh ! I haue fugercd 
With thofe that 1 faw {uSer: A btauc vciTell 

A (Who 



336 SOME ACROSTIC SIGNATURES OF 

Signature 121. 

The last Act of The Tempest contains several acrostics. 

The ' Epilogue ' has already been shown as a specimen on page 61. 

Now note that the initial of the first word of Act v, Scene i, is 
the initial N of the word ' Now.' (See p. 340.) 

Note also that the initial of the first word of the last line of the 
column is the B of the word ' Brim.' 

Begin to read on the initial of the word ' Now,' which begins the 
first line of the block of type composing the first column of Act v, 
Scene i ; downiwards ; on the initial ccqntals of the lines of the text 
(excluding stage-names); spelling Nocab, you will arrive at the 
initial capital B of the word ' Brim.' 

Begin to read np, in the same way from the initial capital B of 
the word 'Brim'; spelhng Bacon, you Avill arrive again at the 
initial caj^ital N of the word 'Now'; thus keying the cipher both 
backwards and forwai'ds. 

Begin to read on the initial N of the word ' Now '; to the right; 
downwards; on the ccqntals of the text; spelling Nocab, you will 
arrive at the initial B of the word ' Brim.' 

Begin to read on the initial B of the word ' Brim ' ; to the right ; 
upwards; on the capitals of the text; spelling Bacon, you will 
arrive at the initial N of the word ' Now.' 

Thus we have the name keyed four ways, forward and backward, 
in this first block of the text of the last Act of The Tempest. 

The acrostic figure here is : — 

Now 
O 

c 

A 

Brim 



FRAXCIS BACOX 337 

Signature 122. 

Having found a signature in the first block of type in the text of 
this last Act of The Tempest, let us look at the last block of type in 
the text of the same Act. (See p. 343.) 

Xote that the initial of the last word of the first line of the block 
is the X of the word ' nuptial.' 

Xote also that the initial of the first word of the last line of the 
same block is the B of the word ' Be.' 

Xote the initials of the words at the beginning of this last line of 
the play: they are B F of the words • Be free.' 

Begin to read from the initial B of the word ' Be ' ; to the right ; 
upwards; on the initials of the words of the text; speUing Bacox, 
you Avill arrive at the initial X of the word ' nuptial.' 

Begin to read from the same initial B of the word • Be '; to the 
left; upwards; on the initials of the words of the text; spelling 
Bacox, you will arrive at the initial X of the word ' nuptial.' 

Begin to read from the initial X of the word ' nuptial ' ; to the 
left; downwards; on the initials of the words of the text; spelling 
baclvR-ards Xocab, you will arrive at the initial B of the word ' Be.' 

Begin to read from the initial X of the word ' nuptial ' ; to the 
right; downwards; on the initials of the words of the text; spelling 
backwards Xocab, vou will again arrive at the initial B of the word 
' Be.' 

Thus we have this name keyed four ways, and forwards and 
backwards, in this last block of the text of The Tempest. 

The acrostic figure here is : — 

Xuptial 
O 

c 

A 

Be free, and fare thou well: 



338 SOME ACROSTIC SIGNATURES OF 

Signature 123. 

Another acrostic is to be found in this last Act of The Tempest. 
(See pp. 340-343.) 

Note that the initial of the first word of the text of the Act is the 
initial N of the word ' Now.' 

Note that the initial of the last word of the author, at the end of 
the Act, is the initial F of the word ' Finis.' 

Begin to read from the initial F of the word 'Fixis'; on the 
initial capitals of the first words of the lines of the text (excluding 
abbreviated stage-names and dii-ections, but including the ' Epi- 
logue ' and * Names of the Actors ') ; back towards the beginning of 
the Act; spelling Fravncis Bacon, you will arrive at the initial N 
of the word ' Now,' which is the first word of the text of the Act. 

Begin to read from the initial N of the word ' Now,' which is the 
first word of the last Act; on the initial capitals of the first words 
of the lines of the text; through the entire Act; spelling Nooab 
SiCNVARF, you will arrive at the initial F of the word ' Finis.' 

The same result is given if the reader read from the same initial 
F to the same initial N; tqi one column and down anothei'. 

Thus we have found this carefully planned acrostic written for- 
wards and backwards as to spelling, and in alternate as well as 
continuous direction; from the initial N of the first word of the 
text of the last Act, to the initial F of the word ' Finis,' which is 
presumably the author's last word. 



FRANCIS BACON 339 

The acrostic figures here are all alike, in a graphic : — 
Now do's my Proiect gather to a head : 
O 
C 
A 
B 
S 
I 

c 

N 
U 
A 
R 

Finis 

If the author of these plays is, as is generally supposed, speaking 
in the person of Prospero, his words have a new meaning for us 
when he says : — 

' I will disease me and myself present.' 

Pallas, the Spear-shaker, was born out of the head of Jove, fully cased in 
armour. There is no direct evidence that the poet was referring to Pallas here. 



i6 



^beTmpefl, 



■~l 



Sic. PutcS'tbat gowtae (7>uni/(}^tlii»l>aO<lXIc 
hjutthatgownc. 

7>», Thy grate fiiaUhiUfiJt. (meine 

C.</. TlK<irop<«< drowoetbUibclc, wbudoeyou 
To do»tc thus OH Tticli Jugg»c^e /iet't alone 
Anil dde die miHiUici iirll : if bf awilie , 
From (oc to croAnc Ikc'I fill out <kii>» with pincKfSi 
Make yi lUangc-ilutt'e. 

^ ,Su, Btyouquiu^Monflrr) Mifltis liiie.is not this 
my Ictkin? hoy* i» iheJetkiJivnilerthcliDttnowlcr- 
kin you arekkfiiojofc yuui liiire.&proac * baliJ Icrkin. 

Trif. Ooc^ociwcfiulcbylyoe amljciKU, inil'c 
like your Riacf. 

Sti, libankthee forthaeiieftjhcct'sagatiTitntfot't: 
Wit (hall not,5oe vn-tewatded while 1 eoi King of this 
Country :-Sual< by hoe and kuell, it ao exccHcnt pafle 
of pat« :^hwc'sanQthcF garment foi't, 

Xfj.- Monfler,,conieput foine Lime Tpoii your fia- 
gers, aod away with the rtlt. 

Cdl, I will hiueiiooe oo't ;we niallloofeourtinne, 
Anilaltbciu:n'dto6arn3clcs.oito Apes 
With foreheads villaiioui low. 

Ste. Monfier, lay to your fiiiRci $ : lieipe to beare this 
away, where myhog(>icadofwinen,orllctatiieyou 
out of my kingdome : goe.to, carry this. 

Tri, And this. 

Sic. I , and thi>. 

^ mjfe tfUmiicri hcid. Lniir Amiri Sfnili tnPmfe 
if Doiitni HfiuitU, hunting ihem ulml ; Frojjera 
/toJ tjkrul fclliig them e». 

Frs, Hey OVUnnnmc, licy. 

.4ri. SUftr : there tt goei. Silucr. 

fra. Fuiy, Fury: there 7 jtant. there. •bitke.hatle. 
Goc, charge tny Goblins thatthey grindc their loynts 
With dry Convultions, fhoneii vp tlieir lincwes 
Withaged Cramps, & more pinch-fpo'.ted mike them, 
ThenTard, orCato'Moumamc. 

^ri. Hiike.tlieyrore. 

Pro. Let them be hunted foundly : At ih'i* houre 
Lies at my mercy all min« eiifnues : 
Shortly (hall all my labours cml, and dicu 
Shal I hauc the ayrc at frjredome : i'ot a little 
Follow, and doc nie (etuice. Excu-l. 



ttJBiis qmntunScana Trima, 

fwerPtofpcto {mhii tla^lcktrtitj^jevi Mk\. 

Fro. Now d«'» my Pcolc^ gath cr to » head :. 
MycharmcjcracketKit: my Spirits obey .and Time 
Goes vpri ght with his cetriagc : how's the day ? 

tAr. Onthefixthowet at which lime, my Lord 
You faid our wctkc fhould ccsfe. 

Pre. I did fay fo. 
When Etft Irais'd iheTempefl : (aymy SpiiUa 
Hovr fares the King, and "s followcit f 

jlr. Confin'd together 
In the fame fa(hion, as you gauein chjtge, 
lufl as you left them; all ptifonets Sit 
In {azLint-p-out wliichwcaiher.fcndsyourCell, 
They eannot boudgetilt your releafc :Tl\e King, 
His Btoihe t and yours.abide all three diftraScd, 
And theremaindct mourning ouer them. 
Brim full of fpitow.anddifmay; but chiefly 

\ 



Him that you tetm'd Sir, the good eld Lord CMwIlt, 
His teares runs downc his beard like winters drops 
From eaues of reeds : your charm fo flrongly wotkl'em 
That ifyounow beheld them, youraffeflionj 
Would become tcadcr. 

Pro. Dofl thou thinkefo, Spirit?" 
jir. Mine would, Sit, were I humiae. 
Pro. And mine (hall. 
Hall thou (which art but aire) a touch, i feetiog 
Ofthcir afHi£)ions,and (hall not my felte, 
One of their kinde, that tellilh all as (harpely, 
Palfion as they, be kindlier mou'd then thou art ? 
Thogh with tlicit high wrongs I am l^rook to th'quick,. 
Yet, with my nobler leafoo, gainli my fuiie 
Doe 1 take part: the rarer Aflion is 
In vertuc.then in vengeance : ihey.beingpenittnt. 
The fole drift of my purpofe doth emend 
Not a frowne farther : Goe,releafe them ArkU, 
My CharmcsIlcbreake,rhcirfcnce5llere(\ote, 
And they lliallbe themfeluei. 

y?r. lie fetch them.Sir. txit. 

tro. Ye Elucs of hils.brooks.ftading lakes & gtoues. 
And ye, ihat on the faods with ptintlede foote 
Doe chafe the ebbing-A'<-/'t»«if , and doc fiie him 
When he comes backe :you demy.Pnppets.that 
By Moone-fliincdoethc greenc fowreRinglentttike, 
Whereof the Ewe not bites : and you,whofe paftime 
Istoinakemidnight-Mulhrumps.thattcioyce 
Tohearethe folcmne Curfcwe.by whofeayde 
(Wcake M afters though ye be) 1 hauc bcdymn'd 
The Noonctidc Sun. call'd forth the mulenouswitidtJ, 
And twiKt the greene Sea, and the azur'd vault 
Set roaringwarre: To the dread ratling Thunder 
Hauel giuenfire.and lifted /»«« ftowtOke 
Wiihhis owiie Bolt : The fltong bafs'd promontoriE 
Hauc (made fhakc, and by the fpurs pluckt vp 
The Pyne. and Cedar. Gtaues at my command 
Haue wak'd their (IccprrsjOp'd.and let'em fjith 
By my fo potent Art. But this tough Magicke 
1 hcere abiure : and when I haue tequit d 
Some heaueuiy Muficke (which eueiincw 1 doj 
To worke mine end vpon their Scnces, t^"' 
This Ayrie-charme is for, 1 le bieake my ftaftc. 
Bury it ceriainefadomes in the earth. 
And deeper then did cuer Plummet found 
He drowne my booke. Selemneimfictf. 

Hftrcnicrs Arltl hfur*: Then Alonfo wiihafreniickcgf- 
Jlitrc,aiie«dcJi^Gonii\o. Sebanian^i Anthor.iow 
likf manner ittmitdh Adiian aoJFrancifco •T'mj <2 
tnlcrtbccirclcu-hkhPiqfytTohMlraaJc^UjdlhirtJiaad 

tlurte'd: vhkh Ptofpero clfeTumg,Qciki'. 

A folcmnc Ayre.Jiid the befi comfoner. 

To an vnfetled fancic, Cure thy braines 

(Now y feleffe) boile withm thy tkuU: lb«e flind 

For you areSpell-ftopt. 

Holy ConxjiUo, Ko.Toiiable man. 

Mine eye«.e»'nJ"ociab!e to the fhew of thine 

Fall fellowly diops : The chatme <b(roloet apace, 

And aa the morning ftealcs vpoii the night 

(Melting the darkeocifc) fo theif tifiog fence* 

Begin to chace the ignotaht. iuinct that niiotle 

Their deercrreafon. O gaaiCaifjiSo 

My ttueprefeTuer,3nd8loy.-i\l Sir, 

Tohimthoufollow'fVjIwillDaythygtdceS 

Home both in word,iiid deede: Moft cruelly 



Did thou Alaji, vfc mi, and my asiightsi 

Thy brothet was a furthercr in the A6>, 

Thou art pinch'd foi't now SehfiiAit. Flefh^and bloud, 

You, brother mine, that cntectaine ambition, 

Eipelld remotfc, and nature,- whom, with 5i:&iy?(4>i 

(Whofc inwaidpinchts there (brcarrmoftfltonf) 

Would httrc hauc k(ird your King ; I do forgiue thee, 

Vnnaturall though tbouatt. -Their vndernanding 

Begins to fwcll.andthcapproching tid« 

Will (bottly fill the teafonable /liotc 

That no w ly foule, and muddy : not one of them 

That yet lookes on me, ot would know me: Aritl, 

Fetch me the Hat, and Repler intiry Cell, 

Iwilldifcafeme,andmy felfepfcftnt 

As I was fomc time W>/iu»e ; <juicUy Sptriry 

Thoufhak erelong be ftce. 

Aric'dfagi , end httptsrattirtklvt, 
Hliere the B:i:f«c^,'therefuck.ti 
Ih a Ccaf.ifi btH, J lit. 
Timers I corvch whe» Owtes daeorie. 
On the Bills hckt Ictus fiic 
after Somma- tnerrity . 
MiTTilj, merri/fj/hall I lute nom, 
ytidtrthflfhjfotn that h/tngi on tlrt Bffvf, 
Pre, Why thst'i my dainty AncH.- 1 Oiall milTe 
Thce,buryet.thou (halt haue fieedome c fo,fo/o. 
To the Kirg»iliip, inuUibleas thou art, 
There (halt thou finde the Marrincrt aflecpe 
Vndet the Hat dies ! the Mafter and the Boit-fwaine 
Being awake, enforce thenito this place ; 
And ptefently, I prc'thce. 

Ar. 1 drinkc the aire before me,3nd Tcturrie 
Or ereyour pulfe twice beaie. Exit. 

Gov. All torment, trouble, wohder,jnd amazement 
Inhabits hcere : feme lieauenly power guide vs 
Out of this fearefull Country. 

Fro. Behold Sit King 
The wronged Duke of MiQMne, Pnjptrn 
For more aflurance lint 3 liuing Prince 
Do's now fpcake to ihee, I embrace thy body. 
And to thee, and thy Company, 1 biti 
A hearty welcome. 

A!f, Where thou bce'fth« or tlo, 
Or fome inchanted trifllc to abufe me, 
(As late I haue bcene) I ncfknow i thy PulTe 
Beats as of flcfn.and blood : and fince I fiw thee, 
Th'affliftionofmy minde amends, with which 
J feare 3 madneffc held me : this m"ft ctaue 
(And if this be at all) a moft ftrangtftoty\. 
Thy Dukedome I refigne, and doe entteae 
Thou pattJon mc my wrongs : Buthetw (Hold Prt^a 
Be liuiog^, indie; heece ? 

Pro. Fitft,nabIe'Frend, 
letmeembracethliieage, wbofehonDrcannfit 
Bemeafur'd.orconfin'd. 

Canz,. Whether this be. 
Or be not. Tie not fwearc, 
Pra. Youdoeyettafte. 
Somefubtleties o'th.'Ifle,ti>4twiIt norletyou 
Belceue things certaine : Welkomriffly friends all. 
But you,my brace of Lords.were 1 fo minded 
I heere could plucke hiiUighnelTe frowndvpoo you 
AndiuRiHeyou Traitors tat this time 
I will tell no tales. 
Sei. TheOiuelirpes1ie»lDhimt 
Pn, lioa 



For you (moH wicked Sir^ whom to call brother 
Would euen infcil my mouth, I do forgiue 
Thy ranked fault ; all of them : and require 
My Dukedomcoftbce, whith,pctforce I know 
Thou mud reflote. 

A/t. IfihoubeeR PreJpsTt 
Giuc vspjrticulirs of thy preferuation, 
How thou haft met vs licere, whojn three hov/res (ince 
Were wrickt vpon this Ciore ? where I hauc loft 
(How Iharp the point of this icmembtancc is) 
MyJcercfonne FerJwjmd, 
Pre. I am woe fot't,Sir^ 

M, Irreparable is the leiTcjandpilitncel 
Sales, it is paft het cure. 

Pro, I rather thinke 
You haue not fought her helpe, ofwhofe foft oracd 
For the like lofle, I haue het foueraignc aid,- " 
And refl iny fclfe contcnr. 

ylh. You the like loflc f 

Fro. As great to me, as late, and fupportable 
To make the decre lofl"e,hauc 1 meancs much weakci 
Then you may call to comfoiiyou ; for I 
Haue loft my daughter. 

Alt. A daughter ? 
Oh hcauens, that they wereliuing both in Nnhii 
The King and Queenc there, that they wete, J wifli 
My fclfe were mudded in that oo-ziebcd 
Where my fonne lies: when did you lofc you^ daughter? 

Pro. InthislaftTcmpeft. 1 perceiuethcfel-ordj 
At this encounter doe fo much admire, 
That they deuourc their r'calbn, and fcarce ihlnle 
Their eies doe offices of Truth ; Their words 
Are naturall breath : but howfoeu't you hauc 
Bcene iiiftled from yoUr fences, know for certain 
TUiiltm Prajpert, and that very Duke 
Which waj thtuft forth ofMillaine, who moll Otangely 
Vpon this (liore('wbercyouwetevvrackt) was landed 
To be the Lord on't : No m.orc yet of Utis , 
For 'tis a Chronicle of day by day, 
Not a relation for a brcaWfaft.nor 
Befitting this fiiftiJiectirtg ; Weltome, Sir ; 
This Cell's my Court i heere haue I fcwattendantJ, 
And Subiefts (tone abtoada pray you laoke in : 
My Dukedome (inteyouhauegiueameagaine, 
I will teqiiiteyou wiilus^ood i thing,. 
At leaft bring forth a.wonder, to content ye 
As much, as nic my Dukedome; 

Hrre Profpero iff sum Ferdiiiiaid4i!iiMirMdii,fUj- 
inral Cheffci 

Mir. S*ect Lord, you playmefalfe. 

Fer. No'mydearejftlouc, 
1 would not for the world. (wrangle, 

Mir. Yes, foiafcorcof Kingdomei, jou fliould 
And I would call it faire play. 

A!o. Ifthisproue 
A vifion of the 1 fland,one dcete Sonne 
Shall I twice ioafe. 

SAi. Amofthighmlticle. 

Fer. Though the Seas threaten they are merciful!, 
I haue curt'd them without caufe. 

Aloi NoWallthcbledings 
Ofaglad father, compaffctheeaboutJ 
Arifc, and fay how thou cam'ft heere. 

Mir. O Wondet I 
How many goodly creatures are there heere 
How beauteous mankinde UfO braue new world 

R T That 



i8 



TteTentfsft* 



Tbtt hw fwch people in'c 

tn. Til ocw to thee. (pisyf 

JIU. Wh«t is this Maid, with vsbomthea wu'cat 
Your eld'ft (cqiuinunce caonoc be three houcM : 
Iiihe the goddeffc that hath feuet'd vs. 
And broughc ts thuj cogeihctf 

?tr. Sir.Oieismortall; 
Bii( bvlcmtioitill ptouideaccOie's mine; 
I ehofcherwhei^ Lcould not atk,: my Faehec 
For hii adnife i not thought I had one : She 
It daughter to thisfamousDuke o( MilUwtt 
Of whom, fo often I hiue heard tenowne. 
But neuetfaw before: ofwhomlhiue 
Receiu'dafecond Ufc ; and rccoadFacbei 
This Lady makes him to me. 

w</». Ijmheiu 
But O, how odly niU ir.found, that I 
Muft aske my childe forgiucncfle i 

PrD. There Sit (lop, 
Lee vs nocb urtheaour temembcances,viiiib 
AtieauincfTe that's gon. 

Gilt. I haueinly wept, 
Or (hould haue fpoke ete this : looke downe you gods 
And on this couple drop a blctTcd crowne ; 
For it is you, that haue chaUi'd forth the way 
Which brought vs Mthel. 

Ah. 1 (ay \mtn,Gcnt,aIlii, 

Cm, Was THill*ins thrufl from A'tiUxite, that his Iffue 
Should become liiogs of Nnflti } O rcioyce 
Beyond a common ioy. and jet u downe 
With gold on bfting Pillcis : In one voyage' 
Did Clariicllhc^ husband findc at Tuiui, 
And Fw-J/uWher brother, found a wife. 
Where he himfclfi:w3sloft.-froyffr»,hi*Dukedome 
In a poore Iflc ■' and alt of ys,our felues', 
Wheo no nun wis his owoe. 

ji/t. Gioe me your hands; 
Let griefe and fotrow Hill embtace his heart. 
That doth not wifli you ioyw 

G<">. Beitfo, Amenj 

Sitter uiritUjtu h ike M/^er and Bott[a««t 
ttmdx.edlj/ followmg. 
O lookeSri.looke Sir.here is more of vs : 
Iprophefi'djifaGallovvcswereon Land 
This fellow could notdrowne --Now blafphemy,- 
That fwearll Grace ore.bootd,not an oath on flwre. 
Haft thou no niouih by land ^ 
What U the ncwes? 

Bit. Thebeft newts is, that we haue fafely found 
Our King, andoompany ; The next .■ our Ship, 
Which but three glafles fince, we gaue out fplit, 
Ij tylr, and yare, and braucly lig d, as whetJ 
We Atd put out to Sea. 

Ar. Sip, all this fetuice 
Haue I done fince T went. 

7ro, My tiickfey Spirit, 

t/th. Thefe ate not naturall euenti,they ftrengthen 
From fttange,to (Iranget ; Cay, how came you hither .' 

"Bit. If I did thinke,Sir,l were well awake, 
rid fttiue to tell you : wo were dead of fleepe. 
And (how we know not) all clapt vnder hauhes, 
Where.but cucn now .with flraoge,and feuetall noyfes 
Ofroriog,Qirecliing,hoiMing,ginglKigchaine», 
And mo diucrfitie of founds, all hottiblo. 
We were awak'd : flraighi way, at liberty } 
Where vfe, in all out ttifti, (reflJy behel* 



Our royall, good, and gallancShip .• our Maflct 
Capting toeyehei; cnstrice,fopleafeyon, 
Eueaina dretmc^werewediuidedfionichciPi 
And wrere brought nvoaping hither, 

jift Was't Well done !> 

Pn. Btauely (my diligence) thou flialrbe free. 

Alt. This is as fitangca Maze, as ere men trod. 
And there is in this bufinefle, more then oatiue 
Was euer condufi of : fomeOiacle- 
Muft rciftifieour knowledge. 

Pra. Sir,royLeige, 
Doe not infeft your mindc, with beaiiag on 
The ftrangenelTeoftbis bufintife.atpicicjeifure 
(Which ftiall be (hortly finghr) I'ie tefohrc you, 
(Which to you llioll feetne probable) ofctmy 
Thefe happend accidents ; till when, be cheeieiiill 
And thinke of each thing well :Come hither Spirit, 
Set Cilibun, and his companions free : 
Vntye the Spell .- How fares my gracious Sir ? 
There are yet miffing of your Companie 
Some few oddc Lads, that you remember aot. 
Eilir Aricll, driuiitgm Calittir, Stcftltnt, tuii 
TrincuU in ihtirftehe AffeH. 

Sie, Euery man (hift for all the reft, aodiet 
No man take care for himfelfe ; for all ir 
But fortune •.C'»'iigio Bolly-Monfter Cottfu. 

T'l. If thefe be ttue fpiej which Iweire inisyhead, 
here's a goodly fight. 

CaI. O Sciilnt, thefe bebtane'Spiriuindiedc i. 
How fine my Matter is? lamafraid 
Hcwillchaftifeme. 

Sck. Hajja:. 
What thirfgs are \\\t(t,mfljaAAiitbcMifft: 
Will money buy em? 

v^of. Very hkej one of them 
Is a plaine Filh, and no doubt matkccable. 

Pro, Matke but the badges of tliefc men.m^ lotdi. 
Then fay if they be true rTbitmifliapenknauej 
His Mother was a Witch, and one fo ftrong 
That couldcontrole 4>e Moooe ;-tTiake 6ovves,and ebl. 
And deale in her command, witjiout, her power : 
Thefe ihree hque robd me,aiid this demy-diued ; 
(For he's abaftatdone)bad plotted with thedi 
To take my life : two ofthefrf eflowes, you 
MuA know,and owne,thu Thing o£dackene(te,I 
Acknowledge mine. 

Ctd. I (hall bepinchtto death. 

Alt, U not this StefhtKt, my drunken Butler ? 

Sti. Heisdruokenow; 
Where had he wine ? 

^ta. And Trwcutti is reeling ripe ; where fliould they 
Pinde this grand Liquor that luth gilded 'em? 
How cam'ft thou in ihis pickle ? 

Tri. IhauebininfucbapickIeCnceI£>wyeutt(V 
That I feare me will ncuer out of my bones : 
1 Iball not feare fly-blowing.| 

Stt Why how now Strfhoio i 

Sit, O touch me not, I am not .yf<yfco«»,but aCranp. 

•Pro. You"ldbeKingo'theHle,Sitha? 

Si'. I fhould haue bin a fore one then. 

Ah. This is a ftrange thing as ere I look'd on. 

Tra, Heisasdifpreporcion'dinhisMannera 
As in his (hape : Goe Sirha, to my Cell, 
Take with you your Companions : as yoa lookc 
To haue my pardon, trim it handfomely. 

Cut. I that I will : and He be wife hereafter. 

And 



^heTempejl, 



\ 



And feekc for grace : what i thrice double AfTe 
Was I to cike thif drunkard for t god / 
Ai>d worOiipthUduU foolc ? 

Pre. Co<to,away. (found it. 

^lo. Hence, •«! btflow your luggage where you 
5f<. OrftoIeittiihfT. 

Pru, Sir, I inuite your HighnefTe, and your tr aine 
To my poore Cell : where you (liall lalie your reft 
For this oneiiight, which partofit,llew3(}e 
With fuch diTcourfe, ai I not doubt.fliall make ic 
Goequickeaway : Thenovyofmylife, 
And the particolat accidents, gon by 
Since I came to this Iflci And i" ih« monie 
rie bring you to yout ftiip , and fo to NttpUi, 



Where I haue hope to fee the ruptiall 
Of ihcfe our dcere-belou'd, folemniied. 
And thence retire me to rtiy MiCtitt, where 
Euery third thought fliill be my crailc, 
A/>. I long ' *" 

To hcire the rtory of yout nfcj which mud 
Taketlieeare ftarogely. 
Prt. rie deliuet all, 
And promifc you calmc Seas, aufpicioui galcj. 
And fiile, fo expediiious, that fhall catch 

your Royallfleetefarre off :Myv*r;f/;chicke 
That it thy charge : Then to the Elements 
Be fret, an<{ fare thou well : pleafe you draw neeie. 
exeunt cmnii. 



19_| 



N' 



EPILOGVE, 

Oamjchtrmts an tH»rethrownt, 
AnJjtJjullrcvgth I haue '/ mint twne, 

U'hi(f!Umof}fiint: afvf 'tit tmt 

t mufi be heerl conjinde ty jiu^ 

Orfent u Niples, Let mtnot 

Sinct I hnut my Vuieiomtgot , 

Aniftrdon'dtht Jcceiuer, dwtS 

In this barel^d, try your SfeS, 

BMfrt/ejJi me/ram my ItjhJs 

with the helfe ffyturgiod hands : 

CentU brtath if jours, my Stiles 

Mujljill, or elfe myfroieBftiks^ 

ifhich xPoi totledje: Now Itvant 

Spirits to enforce : Art to incbiifty 

And my ending is dcfptire, 

ynltjje I it relteu'd by fraier 

WLubfiercesfr, that it afatiltt 

Mercy itfelfi, and frees ill fmtls. 

Asyoafrim crimts would fardoifdbey 
tetyour InJul^^erKefetmejfrte. Exir. 



The Scene,an vn-inhabited Ifland 
D^nm<fthc Mlors, 

Altnft, K.of Naples! 

Sebajh'ao bis Brother, 

Proffero, the right Duke efMiMnt. 

Anthonit hit brother, the v/urfing Dutt pfMiSjuit, 

Ferdinand, Son to the King ofNtflts. 

Gonzato, an honejl oldC«*rueUor, 

Adrian, & Frtncifco, Lords. 

Caliban, afiluagt and deformfdfitiu, 

Trincule,a /offer. 

SiephtaOy 4 drunken Butler, 

MaflerofaShif. 

BoateSvftine' 

Marrinen. 

Miranda, daughter it frojftri. 

Ariell^ *> *yriejpirit. 

trit 



Ceres 
luno 

Nymfhtt 
Ruftrs 



Sfirits, 




THE 



344 SOME ACROSTIC SIGNATURES OF 

Signature l^Jf. 

This acrostic is found on the last page of the Two Gentlemen 
of Verona. The page is wrongly headed " The Merry Wiues of 
Windsor." (See p. 346.) 

Begin to read from the initial B of the word ' Be,' which is the 
first word on the page; to the right; downwards; on the initials of 
the words of the text; spelling Bacoxo, you will arrive at the initial 
O of the word ' once ' (25th line from top). 

Begin to read from the initial O of this word ' once'; to the right; 
downwards; on the initials of the words; sjielling backwards Oc- 
siCNARF, you will arrive at the initial F of the word 'Flnis.' 

The acrostic figui-e here is : — 

Be thou ashamed, etc. 
A 
C 
O 
N 
: if Once again, etc. 
C 

s 
I 
c 

IS" 
A 
R 
Finis. 



FRANCIS BACON 345 

The cipherer has also doubled this signature by treating both the 
columns as if they were one column : that is to say, he has read 
across both columns, and has adjusted the initials to the same figure, 
but has made it tie at another point. 

Begin to read on the initial B of the word ' Be,' which is the first 
word on the page; to the right; downwards; on the initials of the 
words of the text; across both columns as one line; spelling Bacono, 
you will arrive at the initial O of the word ' of ' (12th line from top: 
second column). 

Begin to read from the initial O of this word 'of'; to the left; 
downwards; on the initials of the words of the text; still across both 
columns as one line; sijelling backwards Ocsicnakf, you will again 
arrive at the initial F of the word 'Finis.' 

The acrostic figure here is : — 

Be thou ashamed, etc. 
A 
C 
O 
N 
that I shall aske Of you 
C 

s 
I 
c 

N 
A 
R 

FrNis. 



38 



The Merry Jfiues ofWmdfor, 



Be th'ou afham'd ihat 1 haue tookc %p°" "^'i 
Such an ioimodeft raymcnc ) if Ihame liuc 
Inadifguifeof louc? 
It is the lelTcr blot modefly findeJ , 
Women to change their fliapes.theo men thc'ir minds. 
Pro. Then men their mindsfiit ttue:oh heuen^weie raan 
But Conftaiit^he were petfeiS ; that oxiq error. 
Fd»l\im\Mithfaults:m3kes him run through all th'fins; 
Inconllancy fall«-off, ere it begins : 
What it in Sllni's face.but 1 may (pie 
More fredi in Mia't, with a conftant cye'i 
XJ"!- Come,come:ahandfromeitl\er; 
Let me be bleft to make ihij happy clofe : 
'Twerepitty twofuch friends fhould be long foet. 
Pre. Cc3re\vitocs(heaueii)Ihaueii)y vviChforeutr. 
Int. And I mine. 
Oui-l, Apt)ze:aprize:apriie. 
>V. Forbcare.fotbearel fay : It is my Lord the Cw^. 
Your Grace is welcome to a man difgrac'd, 
B3ni(Ked fttntim, 
Diii' Sir f </«;<« > 
Thu, Yonder is 5;/«/« : and 5i/tf/<i'/ mine. 
fill. 7*«r/i7giuebackc; or el{e embrace thy death; 
Come not within the meifui e of my vvrath : 
Doe not name 5//«i« thine: ifonccagaine, 
Vtrma(hM not hold thee : hcere fhe (lands , 
TakebutpoiTeiTionofher.wiihaTouch; 
I dare thee, but to breath vpon my Loue, 

Thar. Sit VaUntiae, 1 care not for her, I: 
1 hold him but a foole that will endanger 
HiiBody, foraGirle thatloueshimnot : 
leUime her not.and therefore Hie is thnie. 

Da^f. The more degenerate and bafc art thou 
To make fuch meancs for ber.ai thou haft done, 
And leaue her an fuch.fl'ighc conditions. 



NoWjby the honor of myAnceftry, 
I doe applaud thy (pitit,fW«i//iif^ 
And thinke thee worthy of an Empreffe loue t 
Know then, 1 heere forget all former greefcs, 
Cancell all^grudgc, rcpeale thee home againcj 
Plead anc-^i ftate in thy VD-rlual'd merir. 
To which I thus fubfcribe : Sir VtleHtine, 
Thou art a Gent]eman,and well deriu'd. 
Take thou thy 5//;<;V,fot thou haft deferu'd her. 

Vat. 1 thank your Grace, J gift hath made me happy: 
I n ow befeech you (for your daughters fake ) 
To grant one Boone that I fhall aske of you. 

Duhf. I grant it ffor thine owne) what ere it be. 

1^*1. Thefe banifh'd men,that 1 haue kept withall, 
Arc men endu'd with worthy cjualities : 
Forgiuc them what they haue committed here. 
And let them be recall'd from their Exile ; 
They are reformed, ciuill, full of good, 
Aiul fit for great employment (worthy Lord.) 

D*'^'. 1 hou haft pteuaild.I pardon them and thet : 
D iCpofc of them.as thou know ft their defertt. 
ComCjIei vs goe, we will include all iarres. 
With Triimiphcs, Mirrh, and rare folemnity. 

fjl. And as we waike along,! dare be DoH 
Willi out (iifcourfe.tomakcyour Gracctofmile. 
Wh.n thinke you of this Page (my Lord? ) 

DhIt I think the Boy hath grace in bim, he blufheJ. 

l^nl. I warrant you (my Lord)more gracc,then Boy. 

"Duke. What meanc you by that faying ? 

K«/. Plcafc you. He tell you,as we pafTe along, 
That you will wonder what hath foi tuned : 
Come frwifw, 'tis yourpcnnance.but to heare 
The (lory ofyourLouesdifcoueted. 
That done.our day of marriage fliall be youri, 
OneFcaftjOne houfe,onc mutoallhippinefle, Exmt. 



Tlie names of all tlic Adors. 



trtritt: rather to Siluij. 

Anthomo: father t» Trotheus. 
.Thurie: afoaUjb riuall teydUntine. 



Eglimoure : Agent forSilmsinherefcaft, 

Hojl: where I.ilti lodges. 

Out-'liwes wilh ydenltne. 

Speed: a cleivnipifirnarKte fdlemsne.' 

Liunce : tfielikett Protheiu, 

Pamhion-.ferttMtto A-.tttae. 

Itdii: beloueiof Protheiu, 

Siluia: beleuedtfydcntir/t. 

LuKttt! wight sn^ xi'tmantilulut. 



FINIS. 



THE 



J 



i 



FKANCIS BACON 347 

Signature 125. 

This acrostic is found on page 50 of The Merry Wiues of Wind- 
s(yr, which is wrongly numbered 5Q. (See p. 349.) 

Note that the initial of the first word in the first column is the ini- 
tial B of the word ' Be '; and that the initial of the last word of the 
same column is the initial N of the word ' noAv.' Here we have B N 
to guide us at opposite corners. 

Begin to read from the initial B of the word ' Be '; downwards; on 
the left-hand outside letters of the column; spelling Bacox, you 
will arrive at the initial N of the word ' now.' 

Begin to read from the initial of the word 'now '; to the right and 
up the outside letters of the column; spelling Nocab, you will arrive 
at the initial B of the word ' Be ' again ; thus keying the cipher fi*om 
corner to corner of the column. 



348 



SOME ACROSTIC SIGl^ATURES 



The acrostic figure here is seen in a diagram. 

BEGONE AND COMEWHENYOUARECALLD MISTPAGEOMISTRISFORDWHATHAUEYOUDONi; 

M 

M 

R 

M 

M 

K 

B 

S 

M 

M. 

S 

B 

M 

S 

M 

M 

H 

T 

F 

N 

P 

M 

F 

F 

W 

M 

M 

P 

F 

I 

U 

T 

A 

M 

M 

F 

A 

W 

C 

F 

H 

M 

F 

T 

C 

O 

I 

P 

T 

M 

F 

C 

A 

M 

A 

F 

M 

O 

R 

T 

A 

F 

T 

M 

WHATSTHEMATTER HOW NOW 

Now note that if you ti'cat both columns as one tlie same ciplier 
will still key from and to the same points. 

Note also that the cipherer seems to have been attracted by the 
double entente of the first line of the page. 

Note also that the initial of the first word on the page is the initial 
B of the word ' Be ': and that the initial of the last word of the page 
is the initial F of the word ' Follow.' If read upwards from lower to 
upper corner, they give lis F B and point to the initial B from which 
this cipher proceeds. 



u 


R 


s 


E 


£ 


N 


Y 


N 


S 


N 


R 


U 


A 


U 


£ 


R 


Y 


N 


E 


E 


U 


R 


E 


E 


I 


E 


U 


E 


E 


H 


E 


M 


M 


H 


S 


E 


Y 


E 


E 


R 


E 


O 


N 


R 


T 


Y 


D 


H 


1) 


E 


Y 


E 


A 


D 


Y 


E 


R 


E 


U 


A 


s 


E 


N 


E 


E 


Y 


N 


E 


R 


O 


£ 


T 


E 


N 


I 


T 


Y 


T 


T 


N 


T 


R 


E 


L 


E 


T 


I 


E 


E 


K 


N 


T 


M 


E 


D 


£ 


T 


T 


E 


S 


E 


H 


F 


Y 


L 


G 


U 


(?kt) K 


T 


E 


T 


E 


E 


Y 


E 


Y 


T 


E 


Y 


W 


Y 


E 


E 


D 


S 


H 


N 


N 


W YOUSHALLSEESPORT .... 


.... ANON 




Follow 



S8 



Tbe-Merry f^iuei ofWtndfor, 



Be gout, and come when you are tall'd. 

lH.Tage. Here comes little ^<>^;». (withyoU? 

Tilifl.Fitri. How no w my Eyas-Mustcc, what newej 
/fnS.My M.Sir hbn is come in at yourbacke doore 
f Mift.fwii.iod tequcfti your company, 

^.Paff.Yodlnlelack-a-Ient.baueyoabiniruetoTi 

Pji. 1, lie be fworne : my Majler knowe j not of your 

being heete : and hath threatned to put me into cutrla- 

fiiiig liberty, ifl tell you of it : for he fA eares he"ll turns 

me away. 

Mifi.ftg. Thou'rt a good boy: this fccrecy of thine 
ftiall be a 1 ailor to ihee.and dial make ihce a new dou- 
bletandhofe. lie go hide me. 

,i\ft.FoTd. Do fo : go tell thy Maflcr, I am alone : Mi- 
firis P'gi, remember you your Qh, 

Atijt.Pag.\ warrant thce,if I do not afl it, hitTc me. 
Mip.Fml, Go-too tlien : we'J vfe this vuwholfome 
humidity.thisgrcfle-watryPumpion; wt'iUeacli him 
to know Tunics ftom laycs. 

Fal. Haue I caught thee, my heauenly lewell? Why 
now 1st me die/or I haue liuMlonp enough : This is the 
period of my ambition .- O tins blclfed houtc. 
Mifl.Fcrd. O fweet Sir I'l't. 
FtJ. MirtrisFW, I cannot cog, I cannot prate(Mift. 
Ferd)novi fhall I finin my wirti j 1 would thy Husband 
were dead, He fpeakcit before the bcfttptd, I would 
make thee my Lady. 

MiftFuri. I your Lady Sir hhn \ AI'is, I (iMJuld bee a 
pittifull Lady. 

Fd. Let ihc Court of France diew me fuch anotlier: 
I fee how thine eye would emulate the Diamond : Thou 
hafithc right arched-beauty of tlic brovv,,that becomes 
the Ship-tyrc,thc Tyte-vah>nt, or any Tuc of Venetian 
admittance. 

OitiJl.Ftrd. ApIaineKerchiefe.Sir/uix: 
Mybrowes become nothing clfe.nor ibat well neither. 

Fill. Thou art a tyrant to fay fo : thou would fi make 
an abfoluteCourticr, and the firme fixture of thy fooie, 
would giue an excellent motion to thy gate, in a femi- 
cirdcd Farthingale. I fee what thou wcrtifFoitiinc thy 
foe, were not Nature thy fiicnd: Come, thoucailfl not 
hide it. 

./1/j/?.rorJ.Bcleeueme,thei'sno fuch thing In me. 
Ftl, WliHoiadenieloueihcci' Let that pcrfwade 
jhce. Ther's fomcthing extraordinary in thee : Come, I 
canno: cog, and fjy thou art this and that, like a-manie 
of ihefe lilping-hauthorne buds, that com« like women 
in mens apparrcll, and fmclllike. Bucklers-berry in fim- 
ple time : I cannot, but I loue thee, none but thee ; and 
thou deferu'ft ir. 
MFardXio not betray me fir,l fear you lotie ^.Pti^e. 
fal. Thou mightft as well fay, 1 loueto walkeby the 
Counter-gate, wliich is as hatefuU tome, as the recke of 
aLinie-kill, 

M;/FOT-J.Well,heauenknowe»howIIoueyou, 
And you (Kail one day finde it, 

Ffl. Keepeinthat mmde.Iledeferueir. 
TiUft.Tcri. Nay, I muft tell you,fo you doe; 
Orelfelcouldnot beinthatminde, 

RtbMA^'it Fard,M\&.\\ifnd: heere'sMiHtis/'^jf at 
the doore, fweatin g,and blowing, and looking wildcly, 
and would needs fpcake with you prefcntly. 

r^/. She (tall not fee me, 1 will cnfcouce mce behindc 
the Artas. 

M.Ftrd.VfijyoM do fo, ftie'j i v«ry tailing woman. 
Whats thcmattei?Hcwnon? 



Mijt.PAgt.Q iBi(iri5/<r</ what haHe you done? 

You'r (ham'd, y'are ouetthrowtM, y'sie Tndone for eutr 
M.tn-i. What'a the n>itier,gc>i>d j»i(^ru 'higet 
M.P»g», O weladay,mift.f«rJ,hauinganhoaeftnsaa 

(oyour busband,to ghic him fuch caufe of fufpitieo. 
M.ftrJ. What caufe of fufpition f 
U.P<i£t. What caufe of fulpiiion ? Ou t vpoo joe t 

How am I miflooke in you ^ 

M.Ford, Why(ala»)whai'»tliemtttetf 

TH.Ptgt. Your husband's commiaghetber(WciajD) 

with all the Ofiicert in VVindfor, to (carch for a Gentle» 

mart.thathefayes Itheere now in the houfc ; by ysuj 

corifent to take an ill aduantage of his abfecce.-yoa are 
vndone. 

(JH-Ford. 'Tis not fo.Ihope, 

Ttl.P^gt. Pray heauen it b« not fo, that youhsue(uch 
a man hccre : but 'tis mod ccrtaineyout husband's com- 
niing, with halfe Windfor at his heeles, to fcrchfor fuch 
a one, I come before to tell you : If you know your felfe 
deeic, why I am glad of it : but ifyou haue i friend here 
conuey.conueyhimout. Be not amaz'd, call all yout 
fenfes to you, defend yout reputation, or bid farwell to 
youi good life for eucr. 

M.hmd. What fliall ! do ? There is a Gentleman my 
dei;te friend : and I feare not mine owne ftiame fo much 
as his petill. I had rather then a thoufand pound he were 
outotihehoufe. 

M.P.xge. For (Tiame.neucr ftand (you had rather.and 
you had rather:) your husband's heere at h»nd,bcthinke 
youoffonicconucyanceiin thchoufeyoti cannot hide 
h.m. Oh,howJi.'ucyoudeceiu'dme?Looke,hters iia 
baikct, if he be of any rcafonable flaturc, hemay creepe 
inhccie, and throw fowlelionenvponhiti),as if it were 
going to bucking r Or it is whiting time, fetjd bim by 
your two men to /J<irrA«. Meade. 

WforJ, He's too big to go in there; whatdjjllldo? 

Fit. Let me fce't, let me fee't, O let me fce't : 
lie in. He in : Follow your friends counfcU, He in. 

^UVagf. What Sir Uh» F.>ifi4e ? Aie thcfiyour let. 
ters.Knij:ht? 

FaI. 1 loUi; thee, hcipe nice away : letmectctpe in 
hierc : ilc ncuer— — . 

Til.Ptgr. Hclpeto couer yournufler (Boy:) Call j 
your rnen(Mift.ForJ.)Voudi(Tcmbling Knight. 

M.F<nd, What Uhn.^ckcri, hhx ; Go.take vp thefe 
cloathes hccre,quickly : Whet'j the Cowfe (laffci'Look 
how you drumble } Carry them to the Landrcfrc in Daj- 
chet mead : quickly, come. 

Ftrd. 'Pray you come nere:if I fufpeiS without cscfe, 
Why then make fpott at me, then let me be your if 3 
I deferue it : How now? Whether bcare you this? 

Ser. Tothe LsndtelTeforfooth? 

M.Ford. Why, what haue you to doe wJieihet tiff 
bcare it ? You were bcfl meddle wi th buck-wafliing. 

Ford. Bucket would I could wa(h my fclfe ofisucb 
Bucke, bucke, buckc, I bucke : I warrant you Bscke, 
And ofthe feafontoo ; it (Tiall ippeare. 
Gentlemen, I haue dream'd tonight, Iletell you my 
dreaihe: heere, heere, heercbee my kevea, alccisdtny 
Chambers, fearch, feeke, finde out : Ile'wairant wce'le 
TnkennclltbcFox. Let mertopthiswayfitfti fo.oow 
VDcapc. 

P«f», Good ma(^er Fori, b« contented: 
You wrong your felfe too cnuch. 

M. True(m3acr?,^,)vpGent!emtn, 
You (had fee fport anoa: 

Follow 



350 SOME ACROSTIC SIGNATURES OF 

Signature 126. 

This acrostic is found on page 59 of The Merry Wiues of Wind- 
sor, which is wrongly numbered 51. (See p. 352.) 

Note that the initial of the first word of the right-hand column is 
the B of the word ' Buckled ': and that the initial of the last word 
in the column is the F of the woi'd 'Ford.' Here we have B F, or 
F B, to guide us. 

Begin to read from the initial B of the word ' Buckled '; to the 
right ; downwards ; on the initials of the words ; spelling Bacon, you 
will arrive at the initial N of the word 'not' (fifth line). 

Begin to read from the initial F of the woi'd ' Foixl ' (last word in 
the column); upwards; to the right; on the initials of the words; 
spelling Fravncis Bacon, you will arrive at the initial N of the 
word ' not'; thus keying the cipher from both the initials of the first 
and the last words on the column. 

The acrostic figure here is : — 

Buckled below, etc. 
A 

C 

o 

let us Not forget 
O 
C 
A 
B 
S 
I 

c 

N 
V 
A 
R 

Ford. 



FRANCIS BAC0:N' 351 

Signature 127. 

While we are working on this page 51 of The Merry Wmes of 
Windsor, it may be observed that 'The Song' contains an independ- 
ent signature. This aei'ostic was pointed out to me by my friend 
Mr. W. L. Stoddard. (See p. 352.) 

Begin to read from the initial F of the word ' Fie,' which is the 
first word of the first line of the song; to the right; on all the letters 
of all the words; doAvnwards; spelling Francisco Bacoxo, you will 
arrive at the initial O of the word ' out,' which is the last word of the 
song. 

The acrostic figure here is : — 

Fie 
R 
A 
N 
C 
I 

s 
c 
o 

B 
A 

C 

o 

N 
Out. 



TbeMtrtjmueiofH^indfor. 



51 



mnipoteoi Loue, how nere the God drew to the com- 
pletion ofsGoofe:» fault done fitft in the forme of a 
Wift.fO loce, » bciftly fault: ) and then aaotbei fiolt, 
in the fembltncc of a Fowle, thinke on't (Ioue)a fowle- 
.fjult. When Gods hiue hot bjcliei, wbatfhall poore 
iiMO do ? For me, I am heere a Windifot Stagge, and the 
fatted (I thiiike)i'tliFoneft. Sendme 1 coole rut-time 
(louc)orwhocanbUmenittopiflemy Tallowf Who 
tomes heere i my Doe? 

Onjori. Sit/i7i»<Attsnoutkre (my Deere?) 
Mymale-Deere? 

ftl. My Doe, with the blacke Scut ? Let the jlti? 
raine Potatoes j let it thunda, to the tune of Grecnc- 
fleeues.hailc-kifTmgComBtt, andfnow Etingocs: Let 
thetecomcitcmpcllofprouocation, I willOicUcs nice 

^""' ■ /, t % 

■MTfi. Minil«?45«lsfomewiihme(rv»eethart.) 

td, Diuide me like a btib'd-Bucke.each a Hiunch : 
ywlllketpemyfidesioroyfclfej try flioulderi for the 
fellow of this wjll-e ; and my homes 1 bequeath your 
huibands. Am la Woodman, ha? Spcakel like//tr»* 
the fluntcr > Why, now is Cupid a child of confciciice, 
htmaketrefliiutioo. Aslam j truefpitit,Wclcoroc 

M.Ptgf. Alai, what mil Te? 

M.ftri. Heaucn forgiue out (ionet, 

f,!. Whatffioijdihubc? 

M.Ftrii.M.P^t. Away, away. 

F«/. Ithinkethodiuellwil notbtseineJanin'd, 
Lean the oyle that's in me fhould fet hell on fij:e> 
He would Dtav clfo croffc me thus. 
EmnFtiriei, 

5^. Fairies blacke, gray, gieciie.jniJ white,' 
You Moone (hine reuellcrs,oud fiiadet of oight. 
You Orphan hciresoffiieddcft'iny,. 
Attend your office, and your quality; 
Crier Hob.goblyn, make the Fairy Oyei. 

Ptfi. Elues, lift ycurnamcs: Silence yoaaierytoyet. • 
Clicker, to Wmdlor-chimnies (halt jbou Icbpc ; 
Where fiies thou find'ft vnrak'd,»nd beatthivnfwept. 
There pinch the Maids as blew as BiU-betry, 
Out radiant Qutene, hates Sluts.tind Sluttrr)'.' 

ri/.They are Fairies,he that fpeaks tothcm fhall die, 
lie winke.and couch : No man their workcs mufi cie. 

Sit. Wher'i'S«i:?Goyou,and where youfind a maid 
That ere flie (leepe has thrice her prayers faid, 
Raife vp the Ofgsns of her fantaUe, 
Sleepe fhe iS found as cateleffe infaocie, 
But thafe as flccpc, and thinke not on their fins, 
PIn(hthemarmcs,IegE,bickes,(houIdcrs,Cdcs,&(hins. 

_*J». About, ibnut: 
Search Windfor CiflIe(EIues)within,ahd out. 

1 Strem good lucke (Ocphcs) on cuery facted toome. 
That icraay fiand till the perpecnall doome. 

In flat* as wholfomc, as in Rate '(it fit, 
Worthy the Owner, and the Owner it. 
Tlie feuerallChaiici ofOrdcr,!ookeyou fcowre 
With iuyce of Baime ; and cuery precious flowre. 
Each faire Inflalmcnt, Coste, and feu'raUOcfl» 
With loyall Blazon, euermorc be bicft. 
And Nighily-meadow-Fairitt, looke you fing 
Die 10 thef/«n/r/.Coti;piJ!c,Tnartng, 
Th'eiptcfiure that it bearet: Greene let itbf, 
Mote'fertile-frefh then all theFicld to fee t 
Aod, //<w7 Soit ^m Md-J-Taice, write 
InEmrold-tuffes, Bowrespurple.blew.anilvvWWj 
Like Saphiic-jeiilejiand rich cmbtoiderie. 



Buckled below faire Enight-hoods bending k'.ice j 
Fairies rfe Flowre s for their charaifleiie. 
Away, difpetfe : But till 'tis one a clocke. 
Our Dance of Cnftooie, tound about the Oke 
OfHcrne the Hunter, let vt not forget. /ff t - 

fifcw.Ptay you lock hand in hand:your fclues in order 
And twenty glow.wortnes (hall our Lanthornetbee 
To guide out Meafure round about theTree. 
Bat flay, I fmcll a man of middle earth. 

fal. Heauens defend me from that Welfli Fairy 
Leafl he traniforme mc to a pcece of Cheefe, 

Pifl. Vildc worme. thou wall ote-look'd cuen m th» 
birth. f ' 

^». WiihTriall-firetouchmehij finger end: 
If he be chafte, the fiame will backe dcfccnd 
And turne him to no psine : but if he flart. 
It is the flclh of a corrupted hart. 

P'fl, Attiall,come, 

£«4. Come: will this wood take fire? 

F^l. Oh, oh, oh. 

Qui. Corrupt, cormpt, and tainted in defirc. 
About him (Fairies) fmg a fcornfull rime, 
And as you trip, rtillpinch liim toyour time. 

The Song. 
Fie »t JinnefitHftunttft " Fit «>> Lajl, MiS tjixHriii- 
Ik/I u hm A iltiidj Jire, kjiilidtriib vnchtili iltfrf, 
Fcdi» hexrtw^fe ^Amtt^ttjptre, 
tyfilhsH^htido itm :hem higher Had ti^htr. 
Tilth tim {fdiTiei) muiUAUy ; Pinch himfcr bit vilUxk, 
Fiac'j liim, and biirve hiss, tad turns him attut, 
7iiCiwilts,(i- Sttsar.ligiit,& UHtrnt-jhinttimt, 

T'tgi- Nsy J J nnt flye, I t'oinke wehaae vjstcht fou 
DOW.- VVill none but Herm the Hunter fctue your 
turne? 

M. FJire.Jftif you comc.hold tp theieft no higher. 
Now (good Sir /o4«} now like you W';n<//orwiue$? 
See you thefe husband iDo not thefe faire yoake*. 
Becopic ihe Forrcft bettet then the Towne t 
Ford. NowSitjwhofcaCuckoldnow? 
Mf Brtsme, Fiilliojfei a Knaue.a Cuckoldly kntur, 
Heere are bis hemes Mafter "Brcumt 1 
And Matter "BrsssMf, he hath enjoyed nothing of Firis, 
but his Buck-basket, his cudgell, and twentypouods of 
money,whichmuftbcpaidtoM' Jr«»»f,liishorfesare 
atredcd for it, M'Broime. 

M-Ferd. Sir/oi»,weh3Uchad illl'Jckc: weecould 
neucr meeie : I will neuer :skc you for my Loue} Jgainc, 
but I will alwaycs count you my Decte. 

Fm!. Idobcgintopcrceiuethat I am mode an Afle. 
i^i^ri^. J,andanO!iCtoo: both thcproofct ate cz* 
cant. 

FaL Andthefcatenot Fairies: 
I vljsthree or fowtc times in the thought tbey were not 
Fait i es, and y et the guiltinetfe of my minde, the fodainc 




how wit ifiay bs made a Iacke-a-Lent,v(hea \u vpoo iU 
imploymcnt. 

f»*»f. Sir M*F*/i?j^, ferae Got, andkausyesw 
dcfue5,and Fairies will not pinfe you. 

Ford. Well fald Fairy H.gf'. 

Einaiif And leanc jon your icalo'iixltt X/iQ) S pi^7 

y°"- F.i. 



FRA^^CIS BACOK 



353 



Signature 128. 

These acrostics are found in the first column of Measure for 
Measure, in the Duke's first speech. (See p. 355.) 

Begin to read from the initial O of the first word of the speech; 
to the right; on the terminals; downwards; spelling Onocab, you 
will arrive at the initial B of the word ' But ' (sixth line of the 
speech). 

Begin to read from the initial O of the first word of the last 
line of the speech; to the right; on terminals; njjwards; spelling 
Onocab, you will arrive again at the initial B of the word ' But ' 
(sixth line of the speech). 

Begin to read from the terminal F of the first word of the speech; 
to the right; on the terminals; downwards; spelling Francisco, 
you will arrive at the initial O of the word ' Our ' (eighth line of the 
speech) . 

Begin to read from the terminal F of the first word of the last 
line of the speech; to the right; upwards; on the terminals; spell- 
ing Francisco, you will again arrive at the initial O of the word 
' Our ' (eighth line of the speech). 

The acrostic figures here are respectively : — 



Of Gouernment, etc. 


OF Gouernment, etc. 


N" 


R 
A 


O 


:«■ 


C 


c 
I 


A 


s 


But that, etc. 


c 

Our Cities, etc. 


A 


C 




s 


C 


I 


O 


c 


N" 


A 




R 


Of our owne powre : 


OF our owne powre : 



354 SOME ACROSTIC SIGNATURES 

Signature 129. 

These acrostics are found on the first column of Measure for 
Measure, in the Duke's second speech. (See p. 355.) 

Begin to read from the terminal O of the word Angela (first word 
of the speech); to the left; on the terminals; downwards; spelling 
Onocab, you will arrive at the initial B of the word ' Both ' (the first 
word of the last line in the column). 

Begin to read from the initial A of the word Angela (first word 
of the speech); to the right; on the terminals; downwards; spelling 
Antonio, you will arrive at the initial O of the word ' of ' (ninth 
line of the speech). 

Begin to read from the initial B of the word ' Both ' (first word of 
the last line of the column); to the right; upwards; on the termin- 
als ; spelling Bacono, you will again arrive at the initial O of the 
word ' of ' (ninth line of the speech). 

The acrostic figures here are respectively : — 

AngelO: Angelo; 

N 
N T 

O 

o 

Of vs. etc. 
C N 

o 

A C 

A 

Both, etc. Both, etc. 

Note. — There are two acrostics, Verulam, and F Bacon, on the last page of 
this play. I hope to show these in another book. 



6i 




MEASVRE, 

For Mcafure. 



^J?t us primus J Scena prima. 



Emir Duk;, Efinfm, herds, 

\ScaIjti. 

Efc. My Lord. (WJ. 

"^^ti 0«f OfGoucrnment,tIrcpropcrtie«iovij- 
Would fccmc in mc i'afFc(5l fpccch 8£ dtkoutfc, 
Since I am put to know, that your ownc Science 
Exccedes (in that) the lids of all aduice 
My ftrcngth can giue you : Then no mote rcmainef 
Bui that» to your fufficicncyjas your worth is able. 
And let them wotke •• The nature oFour People, 
Our Cities hflimuons, and the Termes 
For Common lufti cc.y'atc as pregnant in 
As Art,and prai^ife.hath inriched any 
That we remember •• f here is our Commi(Tion, 
From which.we would not haue you warpe; call hither, 
I fay, bid come before v» ^w^f/o .* 
What figure of vs ihinke you,he will beare. 
For you mud know, we haue with fpeciall foule 
Ele^ed him our abfencc to liipply ; 
Lent him our terror.dtcll him v/ith our loue. 
And giuen his Deputation all the Organs 
Ofour owne powte .• What thinkeyou of it ? 

Efc, If any in ^/M»/« be of worth 
To vndergoe fuch ample gracc,and honour,' 
ItitLord^H^'/;. 

Enter Angtlii, 

Vukz loolce where he comcj. 

^g. Alwayes obedient to yourGraces willj 
1 ^ome to know your pleafure, 

2>»%. ' Jinrtlo : 
,Jhere is a kuide ofCharafler !n thy life. 
That to th'obreri)cr, doth thy hifloiy 
Fully vnfold: Thv felfe,and"thy belongingf 
Are not thine owne fo proper ,as to wafte 
Thy felfe vpon thy vertucs ; they on thee .- 
Heauen doth withvs, as we,wi!h Torches doe. 
Not light theoi for themfelues : For if cur vertues 
Did not goc forth of vs, 'twere all alike 
V^t if we had them not: Spirits ate not finely tonch'di 
But to fine ilTues : nor nature neuer lends 
Theimalleft fcruple of herexcellence. 
But like a thrifty gdddclTe.Qie detjrraine.j. 
Her felfe the gloiy of a creditpur, 
Bot^thinks,)nd vfe; butldobeadmylpeecK 



To one th w can my part in him aduerjife ; 

Hold therefore Angela : 

In our remoue.be thou at fiilI,our felfe t 

Mortallitieand Merciein^f/rffj 

I.iuc in thy tongue.and heart : Old Bftiiua 

Though fiift in qucliion,is thy fecondary. 

Take thy Commifiion. 

utng. Now good my Lord 
Let there be fome more tefl.made of my mettle. 
Before fo noble, and fogrea^ a figure 
Bed.imp'tvponit. 

D/»^. Nomoreeuafion: 
We haue with a leaucn'd,and prepared chb!?«,. 
Proceeded to you ; therefore take your honors : 
Our halle from hence it of fo quicke condition. 
That it prefers it felfe, and leaues vnqueftion'd, 
Matters of needfull value r We fhall write toyou > 
As iime,and our conccrnings fliall nnportune; 
How it goes with vs, and doe looke to know 
What doth befall you here. Sofateyou well : 
To ih'hopcfull execution dcelleaueyou, 
Ofyoiir Commidiont, 

jlig. Yet giue Icaue (my Lord,) 
Tlntweninybrini; youfomeihingontheway. 

Dak; Myhaftemaynotadmitit, 
Nor neede you (on mineJionot) haue to doe 
With any fcruple : your fcope isasmineownc^ 
So to in(orce,or qu.ilifie the Lawes 
As toyour foiile fecmes good : Giue rae yout hand,^ 
Ilepriuilyaway : 1 loue the people. 
But doe not like to (lage'me to their eyes : 
Though it doe well, I doe not rellifli well 
Their lowd app.'auff ,and Aues vehement t 
Nordoelthirikethemanoffafedifctetioo 
That do's affcift it. Once more fare you well. 

ylng. T he heauens giue fafetytoyout purpofej. 

S[c. Le2d forth , and bring yoq backe in happi- 

relTe. ' gxic. 

D»ki IthankeyoUjfarcyou well. 

Ejc. I (hall defire you, Sir.to giue raeleaye 
To haue free fpeechwithyou;andit coHcernes me ' 
Tolookeinto the botiomc of niy place; 
A powte I haue, but of what ftrength and n JtUfC, 
I am not yet inHruflcd. 

Ang,'\\i fo with lae : tetvs with-drawtogetber,i 
And we may fooneour fatisfaftionhaue 
Touching that point. 

Efc. Uc wait vpon your tionof. Extmit. 

F Sca»4 



356 SOME ACROSTIC SIG:N^ATURES OF 

Sig)iature 130. 

This acrostic is found on the first page of The Comedie of Errors. 

Begin to read from the initial F of the word ' fall,' which is the last 

word of the first line; to the left; downwards; on the initials of the 

words; si^elling Francisco Bacono, you will arrive at the initial O 

of the word ' of ' in the line (see p. 358) : — 

' My wife, not meanely prowd of two such boyes ' 
(thirteenth line from the top of the second column). 

Now begin to read from the initial F of the word 'For,' which is 
the last word on the page; to the right; upwards; on the initials 
of the words; spelling Francisco Bacono, you will again arrive at 
the initial O of the same word ' of ' in the line 

' My wife, not meanely prowd of two such boyes.' 
The acrostic figure here is : — 

Fall 
R 
A 

I^ 
C 
I 

s 
c 

O 
B 
A 

c 

o 

N 
Of two such boyes, 
K 
O 
C 
A 
B 
O 
C 
S 
I 
C 
N 
A 
R 
For 



FRANCIS BACON" 357 

Signature 131. 

This acrostic is found on the second page of The Comedie of 
Errors, which is wrongly numbered 88. (See p. 359.) 

Begin to read from the initial F of the word ' For,' whicli is the 
first word of the first line in the first column; to the right; on initials; 
downwards; spelling Francisco Bacono, you will arrive at the 
initial O of the word ' oath ' (nineteenth line from the bottom). 

Now begin to read from the initial B of the word ' But,' which is 
the first word of the last line of the block of type (preceding the 
•woY A Exeunt); to the right; upwards; or to the left; upwards; on 
the initials of the words of the text; spelling Bacono, you will arrive 
again at the initial O of the word ' oath.' 

The acrostic figure here is : — 

For we may pitty, etc. 

R 

A 

N 

C 

I 

s 
c 
o 

B 
A 
C 
O 

N 
my Oath, my dignity, 
N 
O 
C 
A 

But to procrastinate, etc. 
Exeunt. 




oJHui primus, Scena prima. 




Enttrtht Dukf "fEffiifiu , viib the MerchaiS of Shicufi, 
Jajlir,iind other Mttiliantn 

Marehant,- 
RoccedJ^WTtopTOruremyfall, 
A nd by ilie dooine-of death end woes and all. 
Duk;. McicliDnt of5nr<ifM/4 plead no mote 
J aiunot paitiall co infringe our Lawcs; 
The cnmiiy and difcoid which'of lace 
Spiling from the rancorous outrage ofyout Duke, 
To Merchants our well-dealitig CountHmeii , 
Who wanting gilJus to tedeemc their hues, 
Haiie feal'd his rigorous flatutes with their bloijdi , 
ExcludeBallpiciyftomourthrealninglookeK 
■Forfincc themortall and intellineiarres 
Tnlxithy feditlousCouniiitnenandvSr 
It haih in folemneSynodej beene decreed \ 
Both by thc5/r4c«yr<!w/ and our felues. 
To admit no ttafficke to our aduerfc towocs : 
Nay more, if any borne at Ephtfiu 
Befeene at any Sirncup-ia Marts andFayresJ 
Againe, if any Sirttcaf.v} borne 
Come to the Bay oCEphcfiii, he dies : 
Hit goods confil'cate to the Diikcs difpofc, 
Vnlcflcathoufandmarkesbe leuied 
To quit the penalty , and to ranfome him : 
Thy fubrtincej valued at the higheft rate, 
Cannot amount vnto a hundred Matkes, 
Thereforeby l.aw thou art Condemo'd to die. 

THrr. Yet this my comfort.whtn your words are done. 
My woes end likewife with the euening Sonne, 
"Ddt VVcIl SiracufM ; fay in briefc the caufe 
Why thou departedfl from thy natiue home ? 
And for what caufe thou cam'ft to Fphefiij. 

Tilrr. Aheaulertaskccould not haue beene impoj'd. 
Then I to fpeakf iny griefet vnfpeakcable : 
Yet that the world may witnefTe that my end 
Was wrought by nature, net by vile offence. 
He vttcr whar my forrow giuesnic leaue, 
Jii SyncHpi was I borne, and wedde 
Vnto a womanibappy but for me, 
Andbytne; hid not our hap beene bad: 
With her I liu'd in ioy, our wealth increaft 
By profperouj voyages I often made 
To EpiJumium, till my fafVorj death. 
And he great tare of goodi tt tandone left, 
Drewmefromkindeembractmemsofmyfpoure; 
From whom my abfence was not fae mofltithioldBi 
Bcfote her fclfe (almoA at fainting vndet 



The pleating punirfimeut that women beate ) 

Had made prouifion for her following me. 

And foone, andfafe,arriued where 1 was : 

There had iVie not beene long,but (lie became 

A loyfiill mother of two goodly fofinei; 

And, which was ftrange.the one fo like the other. 

As could not bediflinguiflt'dbntby names. 

That very howre,and in the felfe-fame lnn«, 

A meane woman was deliutrcd. 

Of fuch a burthen Male, twins boih.alike s 

Thofe.for their parents were excecdingpoore, 

1 bought.and brought vp to attend my fonncs. 

My wife,not meanely ptowd of two fuch boyes, 

M ade daily motions for our home retuine: 

Vnwillingl agreed, alas, too foone wee came aboord, 

A league from EfiiUminm had we faild 

Before the alwaieswinde-cbiryingdeepe 

Caue any Tragicke Inftance of our hatmc i 

But longer did we not rctaine much hope; 

For what obfcured light the heauens did grant. 

Did but conuay vnto our fcarefull niindet 

A doubtfull warrant of immediate death , 

Wliicli though my felfc would gladly haue imbiac'd. 

Yet the incelTant weepings of my wife, 

Weeping before for what rtie faw mud come. 

And pitteousplayningsofthe piettie babes 

That mourn'd for fafliion, ignorant what to tcaie, 

Fotfl me to feeke delaycs for ihet^ and me, 

And this it was: (for other mtanes was none) 

The Sailors fought fot fafety by our boaie, 

And left the fhip then finking ripe to vs. 

My wife, mote carefull for the latter boine. 

Had faftncd him into a fmall fparc M^ft, 

Such as fca-fariiig mm prouidc for normci i 

To him one of the other twins was bciund, 

Whil'ft 1 had beene like heedfull of the other. 

The children thus difpos'd, my wife and I, 

Fixing our eyes on whom our car^.was fixt , 

Fafined our felues at cyther ctid the mart. 

And floating ftraight, obedient to the ftjeapie. 

Was carried towards Corinth, ai we though^, 

At length thefotin? gating vpon the earthi, 

Difperft thofe vapours that offended vs. 

And by the benefit of his widied light 

The feat wait c«lme,»nd we difcouered 

Two (Viippes from fatre, making amaine to T»; 

Of Ccr«i;4 that, of£»<V/»ri« this , 

But ere they came, oh let me fay no more. 

Gather the fcquell by that went before. 

Diikj Nay forward old msn.doe not brealte off 16, 



H 



For 

^— --J 



88 



^e Qomedie of Errors. 



Forwremaypiity,vhoughnot pardon thcc. 

Mirch. Ohhadihegodsdonefojlhadnotnow 
Wotthily ttarnj'd tberamticiletTeto vs : 
For ere the (Viips touldmeet by twice fiue Icaguti, 
Wc were encoiiiitrcd by a mighty rocke. 
Which being violently bbrnc »]>, 
Out hclpefull fbip was fphitcd ui the midft ; 
Sothat in thisvniuft diuotce ofvs, 
Fortune had left to both ofvs alike, 
What to delight in, what to fotrow for. 
Her part, poore foule, fceming as burdened 
With lertetwjight, but not with leflcr woe. 
Was carried with inotc fpecd before the winde. 
And in our fight they three were taken vp 
By Fi(hermeuofC»rx/,/i, as we thought. 
At length another fhip had fci/.'d on vs , 
And knowing whom it was their hap to fafle, 
Gauehealthfull welcome to their niip-wricktgueftf. 
And would hauc reft the Fidiers of their prey,. 
Had not their biekc becnc very flowof failc ; 
And therefore homeward did tncy bend ihcir couifc. 
Thus haueyou heard me feaer'd from my bliffc. 
That by misfortunes Was my life prolong'd. 
To tell fad ftorles of my owne mifhaps. 

Dukf- And for the fake of iheni thou forroweftfor, 
DoemethefauoUrto dilateatfull. 
What haue faefalne of thefh and they till now. 

JHcrch. My yongefl boy.and yet my elilcft care, 
At eighteene yeercs became irtquifitiue 
After his brother ; and impottun'd me 
That his attendant, fo his cafe was like. 
Reft ofhisbrothet.but retain d his name, 
Might beare him company in the qncO of him: 
Whom whil'ft I labouicd of a loue to fee, 
I hazarded the loffe of whom ! lou'd. 
FiueSommershaue IfpcntinfaitheftCrffrt, 
Roming cicane through the bounds cX jifi'i 
And coafting homeward, came to f^if/«< .• 
Hopeleffe to finde.yet loth to leaue vnlought 
Or that.or any place that hatbourt men : 
But heere muft end the flory of my life. 
And happy were I in my tlmelie death, 
Could all my trauellt warrant me they Hue, 

Cx^f. Hiplerte fjeoM whom the fates haue maikt 
To beare the exttcmitie of dire midiap : 
Now ttuft me, were it not againft our Lawes, 
Againft my Crownc,niy oath,my dignity. 
Which Princes would they may not difaoull. 
My foule (hould fue as aduocate for thee : 
But though thou art adiudged to the death, 
lAnd paffcd fcntence may not be rccal'd 
But to our honours great difparagetnenc ; 
Yet will I fauour thee m what I can; 
Therefore M archaiit, lie limit thee this day 
To feeke thy helpe by bene ficiall helpe. 
Try all the friends thou had in Sfhtjui , 
Beg thou.ot borrow, to make vp tbe fumme. 
And liue: if no.thcn thou art doom'd (odic: 
laylor.takehimto thycullodie. 

Injlcr, I will my Lord. 

Merch. Hopelcfleand hclpelcflc dot^ f^e<m wend, 
ButtoptoccanioatehisUueleirecnd. Exiimt. 

Enler yintiphilu Ersiei, a MuTchaHt^aniDrotnia. 
^rr. Therefore giueontyouataoff/>i<^nr»»», 
Lefl that your goods too foone be confiscate : 



I This very day a S}r*cH^An Matchsnt 
It appTchenilcd foe a tiuall here , 
And not beingabic to buyout his lifr, 
Accordfog to the fiitute of the townc. 
Dies ere the vjcwie funne fet in the Weft : 
There is yoUt monie that I had to keepe. 

Ant. Goe beare it to the Ccntaute,whete wehoR, 
And flay thete 2)riPijH(>,till I come to thee ; 
Wuhii\thi> hcure it will l>e;dinner tinie, 
■fill that He view the oiannets of the towne, 
Pcrufe the ttaders,gaze vpon the buildings. 
And then teturne and fleepe within mine jiine. 
For with long ttauaile I am Biffe and wearie. 
Get thee away. 

Tiro. Klany a man would toke you at your word, 
And goe indcede.hauing fo good a meane. 

txtttirtmit. 

Ant, A truftie villainefir,that very oft. 
When I am dull with care and melancholly. 
Lightens my humour with hit raerry iefts : 
What will you walke with me about the lowoe, 
And then goe to my Inne and dine with me? 

E.THar. lam inuited fir to cettaine Matchants, 
Of who-Ti I hipe to make much benefit : 
I craue y out pardon, foone at fiuc a clocke, 
PIcafc you.llc meete with you vpon the Uatt^ 
And afterward confoit you till bed time .• 
My prefent hufineflc cals me from you not*. 

Aitt. Farewell till then : 1 will goe loofe my felfe, 
And wander vp and downe to view thcCitic. 

E.tM*r, Sic, I commend you toyout own: content. 

Alt. He that commends me lo mine owne contcnt| 
Commends mcto thetliing I cannot get : 
I to the woild am like adcop of water. 
That in the Ocean feckes another drop, 
Who falling there to finde his fellow forth, 
( Vnfeene.inquifitiuc) confounds himftlfe. 
So I,to finde a Mother and a Brother, 
In queft oftheni(vnhappie3)!oofemy felfe. 

[ntir Drcmi) efEfUfta. 
Here comes the almanatke of my true date : 
What now ?How chance thou art teturn'd fo foone. 

E.Drt. Return'd fofoone, rather apptoacht too lit«: 
The Capon burnes, the Pig fals from the fpit; 
The clocke hath Rruckcn twelue vpon the bell : 
My Mifiris made it one vpon my cheeke : 
She is fo hot becaufe the meate is colde : 
The meate is colde, becaufe you come not home : 
Vou come not home,becaufe you haue no flomackc : 
You haue no floinacke.hauing broke your faft ; 
But we that know what 'tis to faft and pray, 
Are penitent for your default to day. 

Alt. Stop in your winde fit.tell me this I pray } 
Whete haue youlefrihemanythatlgaue you. 

E.'Dre. Oh fixe pence that I had a wenfday laft. 
To pay the Sadler for my Miftris crupper : 
The Sadler had it Sir.I kept it nou 

A»t, 1 am not in a (portiuc humor now ; 
Tell me.snd dally not.where is the mouie? 
We being ftrangers here,how dat'ft thou tnaft 
So great a charge from thine owne cuHodie. 

E,'Dt$. I pray you ieft fir as you fit at dinner : 
I from my MiRrii come to you in poft: 
If I return* I fliaU bepoQ indccds. 

For 



360 SOME ACROSTIC SIG:N^ATUEES OF 

Signature 132. 

These acrostics are found on the last page of The Comedie of 
Errors. (See p. 362.) 

Note that the initials of the last four words of the play are 
N. O. B. A. of the words ' not one before another.' 

Frame the last Scene, which is headed : — 

Exeunt omnes. Manet the two Dromio's and 
two Brothers. 

Begin to read from the initial A of the word ' another,' which is 
the last word of the text; to the left; upwards; on the initials of the 
text; throughout the text of the last Scene, and back again con- 
tinuously; spelling Antonio, you will arrive at the initial O of the 
word ' one.' 

Begin to read from the initial B of the word ' before,' which is 
the last word but one of the play; to the left; upwards; throughout 
the text of the last Scene, and back again continuously; si)elling 
Bacono, you will again arrive at the initial O of the word 'one'; 
thus keying both words from the last two initials of the play to the 
same letter, which is the third initial from the end. 

The acrostic figure here is : — 




Not * One Befcre Another 

In the beginning of this play we have already found the signature 
of Francis Bacon, and here we have that of his brother Anthony. 

Note the courteous dispute as to precedence in the last Scene. 

Remember also that in William Rawley's biography of his master 
he tells us that Anthony was equal to him (Francis) in height of wit, 
though inferior to him in the endowments of learning and know- 
ledge. (Spedding, vol. i, p. 5.) 



FEANCIS BACON 361 

Signature 133. 

There is still another acrostic signature at this end of the play. 

Begin to read from the initial F of the woi'd *Fmis'; to the 
right; upwards; on the tei'minals of aZZ words on the last column ; 
spelling Fkancis Bacon, you will arrive at the terminal N of the 
word ' anon.' (See p. 362.) 

The acrostic figure here is : — 

Come go with vs, wee'l looke to that anoN, 

O 
C 
A 
B 
S 
I 

c 

N 
A 
R 
Fenis 

Key this signature by beginning to read from the terminal IS^ of 
the word ' anoN '; to the left; downwards; on the terminals of all the 
words in the column ; spelling Nocab Sicnarf, you will arrive at 
the initial F of the word ' Finis.' 

The acrostic figure here is the same as the last. 

Kote in these two acrostics what use seems to have been made of 
the douhle entente of the words, in the selection of a place in which 
to throw a signature. 



loo 



77?^ Omedte of Errors. 



And vec fiiali mikc fiiU TatitfafUon. 

Ttiirtie three yeireshaut 1 but goneio criuaile 

Of you my fonnei, and till this prefenthoute 

My heauic buithtn ate deliucied : 

The Duke my husband, and my children both, 

AndyouthcKalcndctsofthcicNatiuity, 

GotoaGollIpsreaft, andgowithmee. 

After fo long gtcefe fuch Natiuitie. 

^i^. With all my hcatt,llc Godip at thit feaft^ 

Exttnitmmct. i^arrctthcmiDromio'tmd 
tvc Brcihert. 
S.Bro. Maft.fliall 1 fetch your fluffs from fiiipbordi 
£_/4«.7)ri>iw«,what ftuffeof mine haft thou imbarkt 
5.Dr<.Yoor goods that lay at hoft fir in the Centaur. 
S.Aitt. He ipcakei coaie,ltroyourraaftet Dromio . 



J 



Come go with vi, wee! looke to that anon. 
Embrace thy brother rh cre.reioyce with him. txit 
S^Dro, Thereisafat fiiendatyouTmafteuhoufe. 
Thatkitchin'dmeforyou to day at dimiei: 
She now ft'all be my fifter, not my wife, 

f. i) .Me thinks yo*iaremyglafle,&-notmybtothett 
I fee by you, 1 am a fweet-fac'd youth. 
Will you walks in to fee their goflippinrf 

S.Dro. NotJfir,youaremyelder. 

E.'Vro, That's a qiieflion,hoVD ftiall we trie it. 

S.Tiri). Weel draw Cuts for the Sigrior, till then, 
lead chou firft. 

S.Vro. Nay then thus: 
We came into the world like brother and brother s 
And now let's g^bsnd in hand, not one before another. 

£nr(uir. 



FINIS. 




FRA:NCIS bacon 363 

Signature 134. 

This acrostic is found on the last page of Much adoe about 
Nothing. (See p. 365.) 

Begin to read from the initial capital of the word 'Finis'; to the 
right; upwards; on the cajntals of the text; spelling F Bacon, you 
will arrive at the initial IST of the word ' Nothing,' which is the first 
word of the text at the top of the cokuiin. 



The acrostic figure here is : 



Nothing certainer. 

O 

C 

A 

B 

Fmis 



364 SOME ACROSTIC SIGNATURES 

Signature 135. 

There is another acrostic in this cohimn, ' weak,' because it de- 
pends upon the reader's quickness in being aware of a double entente. 

Note the words ' strike vp Pipers ' with which the play ends. I 
took the double entente of these words as a working hypothesis, and 
struck up the column until I came to the line (thirtieth from top; see 
p. 365) : — 

'And heeres another.' 

The next line above it is : — 

' Fashioned to Beatrice.' 

I therefore began to read from the F of the word 'Fashioned'; 
to the right; upwards; on the initials of the words; spelling Fran- 
cis Bacon, I was not altogether surprised to arrive at the initial N 
of the word ' Nothing ' again — the first word of the text of the 
column. I noted also that the signature is fashioned to Beatrice, 
for the word ' Bacon ' begins upon the initial of the word ' Beatrice.' 

Note also that the ' Bacon ' part of this signature is not only to be 
read upwards, biit can be read downwards either to the right or to 
the left. In other words, it can be read in three directions out of 
a possible four. If the reader has studied my chapter on Method 
he will realize that care is required to make any signature do this. 

The acrostic figure here is : — 

Nothing certainer. 
O 
C 
A 
Beatrice 
S 
I 

c 

N 
A 
R 

Fashioned to Beatrice. 
And heeres another. 



strike vp pipers. 



Tlienthufoi wbonivyefendifdtp thijwoe. Excnt 
Enter Letntf^mi. M4rg.f^rfiU*,t!dmMfr!er,Hert, ' 

fruT. Did 1 not tell you fliewjsinnocoH? 

Lt), So are the fmcttaiCLuidit who tccui'd her, 
Vponthecrrour thityouhcMd debated; 
But Ati'gi^^f w2] in tom« fault for (hit, 
Althaugh againil her will » ic appeitci. 
In the true courfe of all the queftion. 

Oli. Well.I am glad that alt thinf |fott fo weH. 

Bnt. And fo atn T.being etfeby fatth enforc'd 
To call young Cl-mtLc to a reckoning for it. 

/.<«. Well daughtei.ind you gentlewomen all, 
Withdraw into • chamber by your feluej, 
And when I fend for you.come hither niask'd : 
The frwf »ad C/<«i«promi$'dbyihii howre 
To »ifit me.you know your oflicc Bi other. 
You niuft be faihei to yout brothers Haughier , 
And giiie her to young {"ImJic, f..\ mm Ltiilti. 

Old. Which I will dor with connr.n'd countenaiUe. 

"Bint- Frier.I mufl intreatyourpaines,! ihinlie. 

Frier. To doe what Signior ? 

Btne. To binde ine,ot vndoe me.one of them: 
^igtnor Z,»o»iiri>, truth it is good Signior, 
Your neece tegaida me »iith an eye of fauoui. 

itj. Thateyemydaughtctlenther, tistnofttruc 

Bene. And I doe with an eye of louc requite her. 

L'o The fight whereof 1 thiiikc you had from me. 
From CUKiiit,ioi the Pcmff.but what's yout will? 

"Benei, Your anfwer fit ii Enigmaticall, 
Butforniy will, my will ii, yout good will 
May Oaiid with ouri, thii day tobe ronioyn'd. 
In the ftate of honourable marriage. 
Id which(good Friet) I (hall defiie your hefpe. 

ten. My heart ia with your liking 

fruT. Andmyhclpc. 

Snlir Prmce iMCUndii. withatinimi. 

Pnm. Good morrow to this faire alfcmbly. 

Let, Good morrow /'ri>ice,gaod morrow CtaiuLi : 
Weheeie attend you,areyou yet determin'd , 
To day to marry with my brothers ilaoghtet t 

Clam, lie hold my minde wereftic an Ethiopt. 

Ltt, Call her forth broihcr,hcres the Frier ready. 

frju. Good morrow B»»f(<<V,*hy what! the matter? 
Thatyouhauefucha Febiuariefaee, 
So full of fran,offtorme,and dowdinelTe. 

CliuJ. I thinkebe thinkea Tpon the fauagebull : 
Tufh, feare not man, wce'll tip thy homei with gold, 
And all Europa (ball reioyce at thee , 
Ai once Emrtft did at lulty Inf, 
When he would play the noble beat) in loue. 

Bn. Bull /«w fir, had an amiable low. 
And fome fuch flrange bull leapt your faihns Cow , 
A got t Calfe in that fame noble (eat. 
Much like to you,for you haue iu() hit bleat. 

Enter hetitr,Hert, Bnurice,Margtrtt, VrfiJt. 

CU. For this I owe you:here comet oihn retkniugi. 
Which it the Lady I misA feize Tpon ? 

Let. ThUfamcitOie.aodl doegiucyouher. 

CU. Why tben (he't tiiii>e,fv>eet let me fee your face- 

tem. Noch«tyou(}ulnot,tiIlyouukeheThaiuJ, 
Before this Frier.and (wcwe to taauy hn. 

^. Giue me yijot hand before ihia holy Frier, 
I am yovt husband if youl ike of nxi. 

Hert, And when I Ua'd I w« your other wi£i( 
And when you lou'd, you wciemy oOset buifaas)). 

Cte, AaMhetHtr,{ 



^^^tichadoeaboat ^h^hing. 



121 



Hera. Nothing certainer. 
One //iro died, butJdoeliue, 
And furely as I liue, I am a maid; 

Trm. The former Hero, Here that is dead 

i«».Sheedled my Lord.but whiles he, (lander liud 

Frier. All this amazement can I quali(ie. 
When after that the holy rites are ended. 
He tell you largely of faire Herw death i 
Meane time let wonder feeme familiar , 
AndtothechappelJIet vsptefemly. 

Bern. Soft and faire Frier,whichis^Mrr,«? 

Bt't. lanfwcttoihainame.whatisyoutwill? 

Bene. Doe not you loue me? 

Beat. Whyno.no more then teafon. 

Bene. Why then yout Vncle.and the Prince, JCfAi/,. 
Uit, heue beenc deceiucd, thty fwoicyou did. 

Best. Doe not you loue mee? 

Bene. Troth no, no more then realon. 

Beat. Why then my Cofin Mt'grret and Vrfu/t 
Ate much deceiu'd/orihey did fweareyou did. 

Bene. They fwoie you were almoO (icke for me. 

Bett. They fwoie you wrre wel-nye dead for me. 

Bene. Til no matrer,ihenyou doc not louc me? 

Best. No truly,but in friendly reconipf nee. 

Leen. Come Cofin,! am fuicyouloueihc genitemS. 

[Um Andllebefwornc vpon'i,ihatl<elouesher 
For heres a paper written in his hand, 
A hailing fonnet of his ownr pure bramCf 
Fafhioncd to Beiirici. 

Hera. And hcercs another, 
Writ m my cofini hind, flolnc frim her pocket, 
Containing her a(fc£)ion vnto J/wciiicir. 

Bene. A miracle, here's our owne hands again(t our 
hearts : come I will haue thee, but by this light Itake 
theeforpittie. 

"Beiit. I would not denie yod,but by this good day.I 
yeeldvpon great perfwafion, & partly to faue yout life, 
for Iwastold, you wereinaconfumption. 

Leon. Peace I will flop your mouth. 

Trm. Howdoft ihoiiB^Wicif the married man? 

"Bene, lie tcllihce what Prince : aColledgeofwitte- 
crtckers cannot flout mce out of my humour, doH thou 
think I care for a Slityrc or an Epigiam } no. i(a man will 
bebeatenwithbrainfs.a (liall wcare nothing handfome 
about him: in biiefr.fince 1 dopurpofe to many, 1 will 
thinkenothing toanypurpofethat the world can fay a. 
gainflit, and therefotenciicr flout atme.forlhaiie (aid 
againfl it: for man is a giddy thing, and this is my con- 
tlufion: for thy part Claudio, I did thirke to haiiebeaten 
thee,but In that thou art like to be my kinfman, liuc vn. 
bruis'd, and loue my coufin, 

CU. I had well hop'd J wouldO haue denied Btttrici,^ 
I riiight haue cudgcl'd tnee out of thy fingte lifc,to make 
thee a double dealer, which out of qucnid thou wilt be, 
if my Coufin do not loole exceeding narrowly to thee. 

Bene. Come, come, we arc friends, let's haue a dance 
ere we ate married,thai we may lighten out own hearts, 
uidoutwiuethecles, 

Z/««.Wce'll haue dancing afterward. 

Bern. Firft,of my vf ord.thcrforc play mofick.i'ii«f, 

thoa act fad,gei thee a vvife.get tlieea wife, there it do 

(^a(f more reuerend then one tipt with horn. Smer.Mef. 

Mefrn. My Lotd,yout brother lohn ii taoe in flight. 

And brought with irmed men backe ca tJHeffpia, 

Bene, Thinkenoconhimiill tomotiow, ilc deuife 

tbec brauep uniftimeou fot bim: firike Tp PiperiuDiirce. 

L FINIS. 



366 SOME ACROSTIC SIGNATURES 

Signature 136. 

This acrostic is found on the last page of Loues Lahour''s Lost. 
Note the two stanzas sung by Winter. They contain two capitals 
O. Each cajjital O is in the same relative position in the stanza. 

Note the initials of the words above each O : they are ^ , in the 

upper stanza; and ^ , m the lower stanza. We thus have ^ and 
Q to guide us in each stanza respectively. 

Begin to read from the initial F of the word ' f owle ' ; to the right, 
or to the left ; downwards and back again ; on the initials of the 
words; spelling Francisco, you will arrive at the initial O of the 
word ' Owle ' m the upper stanza. 

Follow on continuously, without stopping on the O ; still on the 
initials of the words; spelling Bacono, you will arrive at the initial 
O of the word ' Owle ' in the lower stanza. 

Note the simplicity of this cipher. It is keyed to the right or to 
the left by the easy expedient of excluding all ciphers or O's except 
the two which end the names of the signature. 

Now begin to read from the initial B of the word ' bowle '; to the 
right or to the left ; downwards and back throughout the whole of 
the two stanzas until you have spelled Bacoko: you will again arrive 
at the initial O of the word ' Owle ' in the upper stanza. 

The complete acrostic figure of the combined signatures is : — 

Fowle 

^'^ Owle^ \ 

/ N \ ^A 

O \. 



/ 
/ 

« 

s 






.N C 



I 



A 

I 
Bowie 

Owle 



/ 

o 



Loues Labour sloji, 

Ilf nutde no votit tbit ffoooch&c'd noocrs fay. 
CoraewtuQiheKjDgdoibcamy Lidie come: 
Thensflhautjnuch lout, lie giuc you fome. 
Vim, lit fciue [bee uue andfaithfully till tbco. 



Ktih. Yetfwcarenot.'leaflyebereifworacigen. 

X.mi. Whac laies>t/4r/4? 

Mtri, Atchciwducmonthitnd, 
Ue change my blacke Gowne, for a faiihfull friend. 

Ltn, lie nay with px;rf nee : but :he time it tone. 

Mtri,. The hker you, few taller ate fcyong, 

Ber. Studies my Ladie ? Miftreffe.lookeon me, 
Behold the wjndow of my heart^ineTrie : 
What humble fuiie attends thy anfwei there, 
Im^fe foine fccuicc on me fot my loue. 

Rtf. Oft haue I heard of you my Lord "Birnmt, 
^efoce 1 faw you : and the worlds tat ge tongue 
Proclaimes you for a man repleate with mockcs. 
Full of coiapatifoni, and wounding{t>>ute( : 
Which you on ill eflaie> will ciecute, 
That lie within the mercie of your witt- 
To weed tliis Wotmewood from your fruitfaU braioe, 
And therewitKall to uein ine, if you picjfe. 
Without the which I amnot to be won : 
You (hall this twclucmontb teimc from day roday, 
Vifite thefpeechldleficke, indftillconuerfe. 
With groaning wrcichci : and yojirutktfliallbe. 
With ail the fierce endeuoupof your wit. 
To enforce the pained impoietu to fmilo 

itr-To moM railde laughter in the tbroate of death } 
It eanoot be, it ia ioiy offible. 
Mirth cinQoc reoce a foule in igonie- 

r^f. Why tha?'« the way to choke a gibing fpitit, 
Whofe influejice ii be go2 of that loofe grace. 
Which ftiallowlaughing'hearers giue to foolei : 
^A icfti profpetitie.liei in the care 
Of him that heareao, neucr in the tongue' 
Ofhimthatmakeaitiihen.iflicklyearei, 
Deaft with the clamors of ibeit owne deare grosett 
Will heate your idle fcomer, continue then. 
And I <«iU haue you.ind that fault wiihtlU 
But if they wiU not, ihrow away that fptrit. 
And I fhal finde you empcie of that fault. 
Right ioyfuU of yojr reformation. 

Btr. AtweluemontW Well: befillwhMWillbefall, 
Ileieftatwcliiemonth InanHofpitatl. 

Sis- I fw"' iny Lord end fo I take my leaoe. 

King. No Madam.we will bring you on your way, 

ttr. Our woing doth noc end like an old Play: 
lacke bach not Gill : ilsefe Ladies courtcfic 
Might wel haue made our fport ■ Comedie. 

fit/Come (\i, it winu a twelaemonth and t ivj, 
Aod then 'twil end. 

"ger. Thii'atoolongforaplaf. 

Stiltr'Braggan. 
"Brtg. Sweet Maieny*oucnfafeiii& 
Qa, Was not that Heflor? 
ZMm. TheworthieKnightofTroy. 
5w. I wilkiflcthyroyalfingcf.andwkeleaue. 
I tm 2 Votarie, I haue vow'd to lnqumnM to holde the 



Plough for her fweet loue three yeares. Butmoa eflce. 

mei grestncfle.wilyou heare the Dialogue that the two 

Learned men haue compiled, inpraifeoftheOwle and 

the CiKkeiv^ It Ibeiild haue followed in the csd of our 
ftiew. 

Km, Call them forth qiiic][ely,wc will do fo, 
Brtig. Holla, Approach. 

£llttTiIt. 

This (ide it Wfomr, Winter. 

ThisfVr.tht Spring: theonemalacaiocd by the On!e, 

Th'o«her by the CHckow, 

r<r,begin. 

When Dafies pied, and Vielett blew. 
And Cuckow-buds of yellow hew : 
And Ladie-fiiftickes all filuerwhite. 
Do paint the Mcdowes with delight. 
The Cuckow then on euerie tree, 
Mockes married wen, fot chut fmgt be, 
Cuckow. 

Cockow, Citckow : O word of feare, 
Vnpleafing to a married eaie. 

WhenShepheardt pipe on Oaten flrawei. 
And merrie Larkei are Ploughmens docket : 
When Turtles tread, and Rockes and Davyes, 
And Maidens bleach their fummerfmocies : 
TheCuckow thenoneuenetiee 
Mockes married men; for thui fingt he, 
Cuckow. 

Cuckow, Cuckow : O word offtire, 
Vnpleafing to a married eare. 

m>ittr. 
When Ificles hang by the wall. 
And Dicke the Spliepheard blowei hit naile ; 
And Tom besres Logges into the hall. 
And Milke comes frozen home inpailc: 
When blood is nipt , and waits bo fowie. 
Then nightly fingstheflaiingOwlc 
Tu-whit to-who. 

A merrie note. 

While gtetfie leoe doch liecle the pot. 

When til aloud thewinde doth blow. 
And coffing drownes the Parfoni faw ; 
Andbirds m brooding m thelnow. 
And Marri ans nofe lookcs red and raw : 
Whenrosftcd Crabs hifle in the bowlc. 
Then nightly fmgvthc flaring Owle, 
Tu>whii to Who : 

A merrie note. 

While gceafie lone doth keele the pot. 

Brag. The Words ofMernirJe, 
Ate harlVi after the fongs of ApoUo : 
You that way ; we this way. 



FINIS. 



3G8 SOME ACROSTIC SIGNATURES 

Signature 137. 

This acrostic is found on page 153, which is wrongly numbered 
151, in A Midsommer nigJits Dreanie. 

Note that the first word of the text on the page is the word ' Be,' 
and that its initial is B. 

Begin to read from this initial B of the first word on the page; 
to the right or to the left; downwai'ds; on the initials of the words 
of the text ; spelling Bacon, you will arrive at the word ' name ' in 
the twenty-first line — 

' Your name honest Gentleman ? ' 

This acrostic is 'weak,' as it ends nowhere in position. But I deem 
it of possible value in that it ends on the word ' name.' 
The acrostic figure here is : — 

Be kinde, etc. 

A 

C 

O 

Your Name honest Gentleman ? 



Tit*. Bekindf jn^autcouiiothiiGentlcinaq, 
Hop in his w}lket,ihd gtmbolc in bit cies, 
Fecdchim wjih Ap(i<oclcs, and Dtwbcrncit 
With purple Grapc»^r«en»fig»,»nd Mulberries, 
The home-bags lldlc from the humble Bees, 
Andfotnighc-iipcn crop their vtaxen thighcs, 
And light them jt ihc fitri«-Glow-W0tm«i c^cj. 
To hiue my loue to bed,and to ariCe : 
And plucke the vuingt fiom painted Butterflies, 
To fan the Moone-beamej from hit flccplngeiei . 
Nod to him Elacs, and doe him curtefies. 

ifai. H'ilemoitall,haiIe. 

t.Fii. Hiile. 

3. fill. Halle. 

Bot. I cry your woil}iipt mercy hartily; I befccch 
your wotOiipi name. 

"Sat. I flialldcfire you of more acquaintance, good 
Maftcr Coiwfi : if 1 cut my finger, I fhall make bold 
with you. 
Your name honed Gentleman .* 

Pcnif. Prtfe lltfome'. 

"Sol- I pray you commend niee to miflrcfTcf^ujiA, 
your mother, and to n4aller?tf4/c«/yoorfachcr. Good 
maHer Te.ifi-thjjome, I dial dcfireof you nioic acquaun- 
tanceto. Yournamelbefeecbyoufir / 

Afmf. OHaft/ad'fccde. 

Peaf. FeafC'btoj[or>n. 

Bit, Good miliet MmfidrJ fifje, J know your pati- 
ence well : that fame cowardly gyant-hke Oxe bccfe 
hathdeuoUredmanya gentleman ofyourhouie. Ipro- 
mifeyou, your kindred hath made my eyes water ere 
now. I de(ire you more scquaincance, good Matler 
JUuflitrd-fccdc. 

7i'i- Come wane vpon him.lead hint to my bower. 
The Moone nic-think»,lookei with a wattie eie. 
And when fhe weepcs.weepc euerie little flower, 
Lamenting fame enforced chaOitie. 
Tye »p my louets tongue,bring him filently. £*//. 

Snier Kin^ cfPhnritl, ft!m> 

Oi. I wonder if7';r*»(.»b.eawak'c' 
Then what it wai that next came in her eye. 
Which flic malt dote on, in cxcicmitic. 

SntirFHcki' 
Hert comet my meOcnger : how now mad fpitit. 
What night-rule now about this gaunted gioue? 

fhckj My Mintiiwithamonflerisin loue, 
Neete to her dofe and confecratcd bower. 
While flic was in her dull and flcepinghower, 
A crew of patches, rude Mechanicals, 
That wotke for bitad vpon Athmini ftal). 
Were met together te.fehtaife a Play, 
Intendcdforgre8t7lKyf«noptiell(fay: 
The fliallovwd thick^kin o( thM barren fortj 
Who Tcr»miu prefedted,in their (port, 
ForfookehitSctne,af)dentr<d inabrtke. 
When Ididhlmaithisadutntagctakc, 
An AfTcs nol« Ifinedon his head. 
Anon his Tirir^emuft bcanfwered. 
And forth my Mimmidccomctc when they tilmlpn;; 
AaWilde-geefe, that (he creeping Fowirt eye. 
Or rulTed-pated e houghes.tnaiiy In fbct 
(Rifmg and cawing at the gum report) 
Seuet uienifelue>,and madlyfwetjxche tSyet 



AMidfohtniernights Dreame. 



iTi 



So ac bi> fight, away bii fellowea Bye, 
And at out liampe^heto oie and ore one fals; 
He mutiher ctici,and helpe front jiihnicilt. 
Their fenfe thus weake.loft with their fcari thus flrone 
Made fenfele'fle things begin to do them wrong. 
For briara and ihotnes at their apparell fnatch 
Some flecues.fome hait.from yeel Jeri all things catch 
Ileiithemoninthis<iiftra£led(eare, ' 

And left fwecte/'iMnfwcraiinaied there: 
'.Vheninthai niomcni(foit cameiopadc) 
77(*(Uwaked,3ndrtraightw3ylou'dan AfTe. 

Ok. This fals out better then IcoulJ dculfe; 
But haO thou yet lacht the Athttuuu eyes. 
With the lout luyce, as I did bid thee doe ? 

nnh. I tooke him flceping (that ifcfiniflit to) 
And the ytiiiemvi woman by his (ide. 
That when he wak t,of force (}>e mud be eyde. 

Lntn Demctritu a»d HirmU. 

Ob. Stand clofe, this isthe famc>^;A«Mi». 
Rib, Thisisihe woman,but not this the man, 
Dim, O why rebuke you him that loucs you fo ? 
Lay bicarh fo bitter on your bitter foe. 

ilcT. Now I but chiile.but fdiouldtfetheewotfe. 
For thou (Ifcarr) hall gtucnmccaufe to curie 
If thou liafl flame Ljfindtr in his flccpe, 
Being ore fhooes in bloud, plunge m the deepe, and kill 

nie too: 
The Suiine wa^ not fo true vnto the day. 
As he to mc. Would he hauc flollcn away. 
From fleeping Hcrnut ? 1 le bclceue ai foone 
Tins whole eaith maybe bord,and that the Moone 
May through the Center creepe.and fo difpJeafe 
Her brothers noonetidc.wiih tWAnifoJit. 
It cannot be but thou hafl murdrcd hnn, 
Solhould amutrherctlookc,fodead,fog(u». 

Dim. So (Koul J the murderer looke.and fo IViouid K 
Pieril through the heart with'your flearnecrueltyj 
Yet you the mutdercr looks as brig^lii at cleate. 
As yonder "Veniu in her glimmering fjpheare. 

H<r. What't this to my Ljfundn- ? where is he t 
Ah pood i)fmfrrl/«,wilrtho^glu<himme^ 

Dim. I'de jtthct giue his carkaffe to my hotmdi. 

Hir.OM dog, out cur, thou diiu'ft me paft rhe boundl 
Of maidens patience. HaO thou (laine him then? 
Henceforth beneuer numbred amongmen; 
Oil, once tell true.eucn for my fake, 
Durflthoualooktvpon hJm, being awake? 
And haft thou kill'd him fleeping ? O braoe tutch : 
Could not a wornic,an Adder do fomach? 
An Adderdid it: for with doublet tongoc 
Then thine (ihou ferpenr) neucr Adder flung. 

Dcm. You fpend your palTion on amifpn'sd mood, 
I am not guiltio of i;/i>«/(rr blood: 
Nor is he dead for ought that I can tell. 

Htr. Ipraytheeiellme then that he is well. 

Dim. And If I could,whai fhould I get theiefoie i 

Htr. A priuiledge,neuet to fee-meroorej 
Andfrorotliyharedprefencepartljfeemenomore 
Wheiherhebedeadorno. Exit. 

"Vem.Thne is 00 following her in this fietce TaiD«i 
Here therefore for a while I will cemafne. 
So forrowes heauineCfe doth heauier grow: 
For debt thit bankroot (lip doth forrovr owe. 
Which now m fome Qighcincafure it wlfl pay. 



370 



SOME ACKOSTIC SIGNATUKES OF 



Signature 13S. 

This acrostic is found on the last page of A Mldsommer nights 
Dreame. (See y>. 375.) 

B By 

Note the initials F of the words From which are the four- 

F Following 

teenth, fifteenth, and sixteenth lines of Puck's si)oech. 

Begin to read from the initial F of the word 'Following'; to the 
right; upwards; throughout the column and continuously down 
the next column; on the initials of the words; spelling Francisco 
Bacoxo, you will arrive at the initial O of the word 'owner,' third 
line fi-om bottom of ' The Song.' 

Begin to read from the initial B of the word ' By '; to the right; 
downwards ; on the initials of the words of the text ; throughout the 
column and continuously up the next; spelling Bacono, you will 
arrive again at the initial O of the same word ' owner,' having 
keyed the cipher. 



The acrostic figure here is: — 



s — c. 



/ 



y 



N 



\. 



\ 



/ 



R 



Folio 



N 



wmg 



Owner of 



By 



Owner Of 



N 



FEANCIS BACON 371 

Signature 139. 

Now note that the initials of the first and last words of the first 
line of the second column are the initials B and F of the words ' By ' 
and ' fier.' (See p. 375.) 

Begin to read from the initial B of the word 'By'; to the right; 
downwards ; on the initials of the words of all lines ; siielling Bacono, 
you will again arrive at the initial O of the word ' owner.' 

Begin to read from the initial F of the word 'fier'; to the left; 
downwards; on the initials of the words of all lines; spelling Fran- 
cisco, you will arrive at the initial O of the word ' of,' which comes 
next to the word ' owner.' 

The acrostic figure here is : — 

By 

t 

c 

O c' 

\ r 

N S' 



a' 



\ 



c 

Ovmer Of 



372 



SOME ACROSTIC SIGNATURES OF 



This acrostic is weak, as the two names do not meet upon the 
same initial O^ But it is sufficiently remarkable as it is. 

The complete acrostic on this page may be represented thus : — 

Fiei- 

/ 
R 




I 



^ 



I 
C 



Owner Of 



FKANCIS BACOI^ 373 

Signature 140. 

There is still another acrostic in this last page of A Midsommer 
7iigkts Dreame. (See p. 375.) 

The fun begins when PucTce enters. 

Begin to read from the initial N of the first word of Pucke's 
speech; to the right; downwards; thi'oughout the remaining text of 
the play: on the initials of the words of the text; spelling Nocab 
SiCNUAEFF, you will arrive at the initial F of the word ' FrNis.' 

The acrostic figure here is: — 

PucTce. Now the hungry Lyons rores, 
O 
C 
A 
B 
S 
I 

c 

U 
A 
R 
F 
Fenis 



374 SOME ACEOSTIC SIGIS^ATURES 

Signature 141. 

As I am reading the proofs I see that I have missed another acros- 
tic on the last page of A Midsommer nights Dreame. It folIoAvs 
here. 

Begin to read from the initial B of the word ' By,' which begins 
the first line of the second column; to the right; downwards; on the 
terminals of the words; sjielling Bacono, you will arrive at the 
initial O of the word 'of ' (eighteenth line from top). 

Begin now to read from the initial F of the word ' Festis '; to the 
right; upwards; on the terminals of the words; spelling Fkancisco, 
you will again arrive at the initial O of the word 'of (eighteenth 
line from top). 

The acrostic here is : — 

By the dead and drowsie fier 
A 
C 
O 
N 
And the blots Of Natures hand, 

C — 

s 
I 
c 

A 
E 

Fenis. 



) l62 



Andfarwellfritndi.thusTie^wendj 
Adieu, adieu, adieu. 

Duki Moon-(Viine & Lion are left to butie the dead. 

Demt. 1, and Wajl too. 

Bot, No, I affure you, the wall it downe, that parted 
their Fathers. Will it pleafe you to fee the Epilogue, or 
Coheare a Bergomask daiice.betweene two of out com- 
pany? 

Dukj No Epilogue, I pray you; for your play needs 
no excufe. Neuer excufe ; for when the plaiers ate all 
dead.thereneednonetobebbmed. Marry, ifheethat 
vwit it had plaid Tiramia.and hung himfclfc in Tbnbiei 
garter,itwouldhaucbecncafineTtagedy: andfoit ii 
truely, and very notably difchatg'd. Buicome, your 
Burgomaske; let your Epilogue alone. 
The iron tongue of midnight hath told twelur,. 
Louers to bed, 'tit almoft Fairy time, 
I feare we ftiall out -fleepe the comming morne. 
As truth as we this night haue ouerwatcht. 
This palpable gtofTe play bath well beguil'd 
The heauy gate of night. Sweet friends to bed. 
A fortnight hold we this folcmnity. 
In nightly Reuels; and new iollitie. Sxtmt, 

Smer Purler, 
?«i^ Now the hungry Lyons rores. 
And the Wolfe beholds ihe Moone; 
Whileft the heauy ploughman fnorcs, 
AU with weary laske fore-done. 
Now the wafled brands doe glow, 
Whil'ft the fcritch-owle.fcritchityg loixl. 
Puts the wretch that lies in woe,^ 
In remembrance of a flirowd. 
Now it is the time of night , 
That the graues, all gaping widff, 
Euery one lets forth hi t fprighi , 
IntheChurch-waypaths to glide. 
And we Ftiries.that do runhe. 
By the triple Wfr"ir«ieame , 
From the prefence of the Sunne, 
Following darVeneffe likea dreame. 
Now arc frollicke ; not a Moufe 
Shall diftutbe this hallowed houfe. 
I »m fent with broome before , 
To fweep the dull bchinde the di>ore. 

Eeier King vJ^cnt cfFniriet.wiih ihiir trame. 
Ot- Through the houfe giue glimmering light , 



A Mid/ommermghts Dreame. 



By the dead and dtowfie fier , 

EuerieElfe andFaliiefptieht, 

Hop as light as bitd from Sricf, 

And this Ditty aftei me, ling' and dance it tiipplnglic. 

Tit». Fitft rchearfeibisfongbytoate. 
To each word a Warbling note. 
Hand in hand, with Fairie grace. 
Will we ling and blcffe this plate. 
Tht Song 

ATow vtitiU the trctke cfday , 

Tbmughthu heufeenci Ttiirjflraj. 

To iht htj} Bridi-tcd viUat, 

tyhiehtj vipmlltitjedtt: 

And iht iffiu there creMt, 

EutrJhAli ^c fcTtunate : 

St/hiiUallthcccuf/ti three, 

tMer true i» leuhg he : 

jitidthe tlctt of N,iiurti hand, 

SbaSntlln their iffnr fluid. 

Neutr molejjarett^^wct feam^ 

Nor may k^frcdigiotu^fucb at aa 

Tlrfpifed in Naiiuitie, 

Shall vfoM their children te, 

tVith thia fteUdrwcenfeerat, 

Euery Fairy ra^e his gate, 

jind each feueraS chamber llejje , 

Through this PalUce mthfaeetfettr, 

EHrrfljaUm ftfity refl^ 

And the ureter cfit tlefl. 

Tripaw/ty^tnakenoflayi 

Afeet me aU hy heake fif day. 

Robin. Ifwefhsdo wet haue offended, 
Thmke but this (and all is mended^ 
Thai you haue bui flumbrcd heete. 
While thefevifions did appeare. 
And this wcake and idle theame. 
No more yeelding but a dreame, 
Centles, doe not reprehend. 
If you pardon, we will mend. 
And as I am an honeft Pucke , 
if we haue vnearned lucke. 
Now to fcape the Serpents tongue^ 
We will malie amends erelong: 
Elfe the Pucke a lyar call. 
So good night vnto you all. 
Giue me yout hands, if we be friend*. 
And Rohm (hall reftore amends. 




376 SOME ACROSTIC SIGNATURES OF 

Signature 142. 

This acrostic is found on the first page of The Merchant of Venice. 
(See p. 378.) 



Note the arrangement of the initials at the head of the text 



B. 



Note also that the initials of the words at the bottom corners of 
the page are N of the word ' Nor,' and the B of the word ' By.' 

Here we have two N B's to attract our attention. 

Begin to read from the capital B of the word ' By,' which is at the 
extreme lower right-hand corner of the page ; to the right or to the 
left; upwards; on the capitals alone; spelling Bacon, you will arrive 

- N 
at the capital N in the monogram at the head of the page 



thus keying the signature from corner to corner of the page. 

ere 

N 



The acrostic figure here is: 



O 



By 



FRANCIS BACON 377 

Signature 143. 

This acrostic is found upon the pages 164 and 165 of The Merchant 
of Venice. They are incorrectly numbered 162 and 163. (See pp. 
379-380.) 

Note that the initial of the first word of the first line of the first 
column of page 162 is B of the word ' By.' 

Note also that the initial of the first word of the last line of page 
163 is B of the word ' Be.' 

Here again we shall deal solely with the capitals throughout the 
text. 

Begin to read from the capital B of the word ' By,' at the top left- 
hand corner of page 162; to the right; downwards; on the capital 
letters of the text; spelling Bacono, you will arrive at the capital O 
of the line : — 

' O my Antonio, had I but the meanes.' 

Begin to read from the capital B of the word ' Be,' at the begin- 
ning of the last line of page 163 ; to the right ; upwards throughout 
the text of all columns; s])elling Bacoko, you will again arrive at 
the capital O in the line : — 

' O my Antonio, had I but the meanes,' 
and keying the cipher. 

The acrostic figure here is : — 

By being peevish? 
A 
C 
O 
N 
O my Antonio, had I but the meanes 
N 
O 
C 
A 

Be assured you may. 



i6^ I 




TheMcrchant of Venice. 



(iJUui primus. 




Cnur jlatheifUfS'lii'i'tt'l'xi&tUilit. 

Tooth I know not why I «m (« fad. 
It wcitioma i you f>v tc wcwiet you ; 
'But how 1 caught tc,nMindit,orcimc by it, 
'iVhatfiuSe'iitiTiadcof, «*)wr<of It 19 borne, 
luitoleaine: aiuiiiub* Wani-wtt bdneffe isikci of 

mte, 
Tbatrhauc muchadotobnowmyrcire. 

S»l. Your mindc is torting on the Ocein, 
There where your Argofics with ponly (lile 
LikeSlgniors and rich Burgers on the flood. 
Or at it were thy Pageants of the fca. 
Do ouer-pcere the pettieTtaffiqueTS 
That curtfie to them, do them f icrence 
J\S they flye by them with their wouen wings. 

StUr. Bcleeue mt fir, had I fuch venture forth. 
The beitet pan of my aifeflions, would 
Be with my hopes abroad. 1 thould be Aill 
Pluckiog the graiTe to know where fits the winde. 
Peering in Maps for potts, and peers, and rodct : 
And euery obicdi th« might make me fcare 
Mitfottuneto my vcniurci, out of doubt 
Would make me fad. 

Sdl. My windeeoolingmybrotls. 
Would blow me to anAguc,whenIchoiiglK 
What hatme d winde 100 great might <loe at fira, 
I Qiould not fee the fandie houre-glaiTe tunne, 
Btit I &otild thinke of fhallowi,and of flats , 
And fee my wealthy jinirem dosks in fand, 
VaiUna bet high top lower then her ribs 
To kilteher buriall t ibould I got to Church 
And fee the holy ediiicc of Done, 
Andnotbethiokemcflraight of dangerous rocks, 
Which touching but my gentle Velfels fide 
Would fcatier all her fpicca on the llresmc , 
Enrobe the loring waters with my filkei. 
And in a woid, but euen now worth (his. 
And now worth nothing. Shall I haue thetboughc 
To thinke on this, and (iialll lacke the thought 
That fuch a thing bechaanc d would make mc fad i 
Bat tell rtot me, I know Amhonie 
It fad to thinke vpon hit merchandize.' 

AwJa, Beleeue meno,! thanke my {brtuoe for it. 
My ventiuei are itot la o ne botitmie cTuRe4i 
Not to one place ) nor u my tnhole cltate - 



Vpon the fortune of this piefent yeerc : 
Therefore my tnetchandize makes me not fai' 

StU ■ Why then you are in loui; 

Anth. Fie, fie. 

StU. Not in loue neitbw : then let tj fay yon are lad 
Becaufe you are not merry ; and 'twere as eafie 
For you to laugh and lcape,and fay you are merry 
Becaufe you are not fad.Now by two-headed Imai, 
Nature hath fiam'd ftrange fcllowct in her time : 
Some that will euermore peept through their eyts« 
And laugh like Parrats at a bag-piper. 
And other of fucn vineger afpeQ, 
That they'll not ftiew their teeth in way offmile. 
Though Hifitr (wcarcfhe left be laughable. 

BnttT BDffoiit, LornfofiTii Crtliex}. 

ScU. Heete comet S<t//i»i», 
Your moft noble Kinfman, 
CrmUtia, and Lernft. Faryewell, 
We leaife you now with better company. 

SiU. 1 would haue (laid till ] had madeyoa merry. 
If worthier friends had noLpreucotcd me. 

e^wr. Your worth is very decrc in my regard. 
I tale it your ownc bufines calls on yos. 
And you embrace thoccafion to depart. 

Sat. Good morrow my good Lords. (whert? 

"Baff. Good ftgniors both, when ftiall welaugu?fcy. 
You grow eicceding grange : muO it be fo } 

Sal. Wce'U make our leyfures to attend on yoDts. 
Sletwtt Salmni, antiSokxii, 

tor. My lotd^/i^/o.fmceyoo hauefoundy/«rA»ir/» 
We two will Icdue you.but at dinner time 
J pray vou haue in miiide where we roufl meetC, 

BulC Iwillnptfaileyou. 

^rat. Youlookenot well (igniorX»»i#»»», 
You haue too much rcfpeft vpon the w6rld ! 
Theylooleit that doe buy it with much care, 
Bcleeue meyou are marucllouQychang'd. 

jlHt, I hold the world but as the v.orld Cr/ttidiif, 
A Rage,where euery man mufl play a part , 
And mine a fad one. 

Crioi, Letmcplsythefooli^, 
With mitih >nii laughter Ut old wtlncklci cotac. 
And let my Liuet rather heate with wine , 
Then my heart coolc with mortifying groaet. 
WhylheuldamanwhofcUoDdit^jittne wisbir;^ 
Sit like his GrantJfire, cut In Alablaftn? 
Sleepc when he wake* i tod <;c«^ into the lauodlef 

L_ h 



r 



162 



7^ <i5MCerchant ofVeruce. 



By bciog pc<ai(h ? I cell thee what Anthmuf 
1 loue thee, «pd it is my loot d»t fpeikei c 
Tbete sret-foffcof men, whofe yifages 
Do crcameandjcapcle like a ftaodiog poiW, 
And do a wlfullfUlntne emeitaioe, 
With purpofe to1jc drell m an opiniftn 
Of wifedomc, gr.auity,pcofound conceit, 
At who Should fiy, 1 am fir an Oracle, 
And when I ope my lipj, let no dogge bjtke,, 

my AthmUfX do know ofihefc 
That thetefote onely are reputed wife. 
For faying nothing , when I am vene (ure 

If they fhould fpcake, would almof) itm thofc earei 

Which hearing them would tall theii brothers foolet : 

lie, tell thee more of this another time. 

But fill not with this melanr holly baite 

Pot rhiiffwlrO'^^lg'ri ^bin'pinmn' 

Come good Lerenu, faryewell a while. 

lie codrey exhortation after dinner. 

Lcr, Well.wc will leaue you then till dinner time. 

1 tnoft b^ oat-of 'hefe fame dumbe wife men, 
For CrtiitHo ncuer lei's mc fpeake. 

Crt. Well, kccpe me company but tmo yeares mo, 
Tbou Qialt ao( know the (ound of thine ownc r oogue. 

%/iia. Fat you well. He grow a ulka for this geate. 

(TrAThankes ifaiih/or Qlcnce is oocjy commendable 
In a neaii tongue dfi'd, and a maid not vendible. Exit; 

jlnt. Icisihat any thing now. 

"Sif. Cratitns fpcakesao infiuiie deate of nothing, 
mote then any man in all Venice, his reafons are two 
grainet of wheatc hid in two bufhds of cha5c:you Oiall 
fceke all day ere you finde them,S( when you tuue ihcm 
they are not worth ihcfearch. 

jim. Well: tel me now, what Lady itthc&mc 
To wbora you fwote a fectet Pilgrimage 
That you to day prouiis'd 10 tel me of ? 

,'Bif. Tia^Joil'nknowne to you yiuibKit 
How much } hauc difsblcd mine cHate, 
By fomething (hewing a more fwelling port 
Then my f^iflt meanes wftuld grant continuance : 
Not do I now make mone to be abridg'd' 
From fuch a noble race, but my cheefe c are 
Is to come fairely off from the great debtj , 
Wherein my lime fomeihing too prodigalN 
Hath left me gag'd : to you jtmhantt 
I owethe moft in money ,and in loue. 
And from your loue 1 haue a warrantic 
To vaburthen all my plots and purpofet, 
Howtoget cleereorall ihedebislowe. 

yf». I pray you good "Bi^io let me know it, 
Andifit ftandatyouyoui felfcflilldo. 
Within the eye of honour, be afTut'd 
Myputfe.my perfon,myeitreameftmfane» 
Lye all vnlock d to your occafiont. 

"Btf- In my fchoole dayes, when T had lofl ooe fiiaft 
I (hot his fellow ofthefelfefame flight 
The felfefame way, with more aduifed watch 
To finde the other forth, and by aducniunng both,, 
I oft found both. ] vrgcthischild-hoodepi<x>fe, 
BecauTe what followes is pure innocence. 
I owe you much, and like a wilfull youth. 
That which I owe is loD : but if you pteafe 
To (hoote another arrow that fclfe way 
Whichyoudidlhoot thcfirft.Idonot doubt. 
As I will watch theayme : Or to finde both, 
Ot bring youc liuer Ward backc againe. 



If 



And thankfully reft debtet for the fiifl. 

'^. ty^ You^io«rmewelI,a<idheTeinr{iSKlbuttia)s 

T<M"iin<ie abolH ipy loue with circumftaiKt, 

'And outof doub^eitdoetnote wrong 
In nuking cmcfitoo pf my Fttermo^ 

' ThenifyouhsifmadewafieofaJll haue: 
Then doe but fay to ine what I fbould doe 
That in your knowledge may by me be done. 
And 1 arapreft tnto it : thcjifore fpeake. 
Baf. In'Sf/woBi is a Lady richly left. 
And (he is fairc, and fairer then that word. 
Of wondrous vermes, fometitnet from her eyei 
1 didreceiue faire fpcechlefle melTages : 
Her name is fortta, nothing vndetvallewd 
To C'"^ daughter, Bruttu Tmia , 
Nor IS the wide world ignorant of her worth , 
F«rih<foutewindcB blow 111 from euery coaft 
Renowned Tutors , and her funny locks 
Hang on her temples like a golden fleece , 
Which makes her feat ofBclmnt [htlchti ftrond. 
And mtnyldfimi come in queft of her. 

my Anihmio, had I but the meanes 
To hold a riuaJl place with one of them, 

1 haue a minde prefjgcs me fuch thrift. 
That 1 fhould queflionleflc be fortunate* 

A»tb Tbou knowft that all my fortune* »c it fea, 
Neither h Ak I mooey, por commodity 
To raifc aprefent fumme.therefore got forth 
Try what my aeditcanin/'emccdoe. 
That fhall be tackt euen to the vttermoft. 
To furnilh thee to 'Bclmsm to faire PiriU. 
Goe prcfently enquire, and fo will 1 
Where money is, and I no queftion majie 
To haue it ofmy ttuli^or for my fake. Sxtmt, 

Etltr Ptrtui'miik htr jnUlin^ wetiua Nnijft. 

Perth. By roy troth Nerrifi, my little body Is 1 wt»« 
tie of this eteat world. 

ffer. YouwQuldbefweetMadam, ifyouriniferitj 
were in thefarae abundance as your good fonunea ate; 
and yet forought I fee. they arc as ficke that futfet with 
too much, as they that ftarue with nothing ; it is nofmaJ 
happineffe therefore to bee feated in the meane , fuptf- 
fluiti^ comes fcftnet by white haircs , but compctencie 
liuctlongfer. 

PtriU. Good fentences.and well pronounc'd. 

Nir. They would be better if well followed. 

^»rti4. Iftodoewereaseafieas to know what were 
good to doe, Chappels had beene Churches , and poors 
mens cottages Princes Pallaees: it is » good Diuine that 
followeshisowneinftruiftioni; I can eafiet teach tweo- 
tie what weregood to be done.then be one of the twen- 
tie to follow mine ownc teaching : the brainemayde- 
uife lawcs for the blood , but a hot temper leapesore a 
colde decree, fuch a hare is madneffc the youth, to skip 
ore the roeflies of good counfaile the cripple ; but this 
teafon it not in fafhion to choofe me a husband : O mce, 
the word thoofe, I may neither choofe whom I would, 
nor refufe whom I di{like,fo is the wil of a liuiog daugh- 
ter curb'd by the will of a dead father : it i» not hard itT- 
rijfi, that I cannot choofe ooc,nor refufe none, 

Ntr. Yout fatbct w»i euer vemioui , and holy tneo 
at tbeit death htue good infplrationt, thetefote the tot' 
tetie that hee hath deuifed in thefe three cbefJt of gold, 
filuer.andleide, whereof who thoefes hit tneining, 

choofcj 



7^ (i5^€rchatit of Venice 



chAcfci you.wil DodeolK rieuet be chofcn by any right. 
ly^uT ooc nbo'you (hill righcljFtouc'.bui what wttoitb 
it thne in your jffc^ioo towif<l» »ny of ihtfe Princely 
futcTJ tb»t «ft tlr« jdy come ? 

Per. Ipcaychccouc(-tanie<hcm,tndaitbonnatncft 
then>,Iw'1dercTibecb«m,jndiccotditigtO(ry<Waip- 
tionletKlIatmyaffeaion. 

NcT. Firft there it the Neopolitane Prince. 

Ptr. I ihii'j a colt indeedr, for be dolb nothing but 
talkeofhishorfe, and hee makes it a great appropria- 
tion to hit owne good partt that he can ftioo himhiro- 
fclfe : I am much afraid my Lodie hit mother plaid falfe 
with a Smyih. 

Net. Than it there the CountiePalentinc. 

Tir. He doth nothing but frownefas who ftiould 
fay.and you will not blue mc.choofe: he heates metne 
tales and failles not, I fcare heewill proue the weeping 
Phylofopherwhenhe growesold, being fofull of vn- 
mannetly fadneffc in his youih. )I had raiher to be marri- 
ed to a diaihj head with a bone in his mouth, then to ei- 
ther of thefe ; God defend me from thefe two. 

A'lT. How fay you by the French Lord, Moun/ier 
U Btumt i 

Prt. God madebim, and therefore let him pafle for a 
man, in truth I know It it a finne to be a mocker.but he, 
why he hath a horfe better then the Neopolitani, a bet- 
ter bad habile of frowning then the Count Pal«ntine,b« 
is euery man in no man, ifaTraflell fing, he fait ftr sight 
a capring.he will fence with hit owi) fhaddw.If I fhould 
marry him, T ftiould marry twentie husbands: if bee 
would defpifeme,! would forgiuehim.for if he loue me 
to madnerte,! ftiould neuer requite him. 

Ntr. What fay you then to FMcmbritlge, the yong 
Baron o(EngU'iiy 

Par. You know I fay nothing to him, fotheevnder- 
(landsnotme.norl him -• he hath neither Z,«/i«,fV<«A, 
nor Ittliai, and you will come into ihe Court & fweare 
that I haue a poote pennie-worth in thef»ij/'/^ : bee is a 
proper mans pifluie, but alat whocan conuerfewitha 
dumbe Oiow ? how odiybe is fuited.I thinke he^ought 
his doublet in /f»/«,hii round hofe in fr4if«,hit bonnet 
in Ccrmi'ir^ni his behauiour euery where. 

Ntr. What thinke you of the other Lord his neigh- 
bour? 

Per. Thathebaihaneighbooitycharitiein him, for 
he borrowed a boxeofiheeare of the B'glifmui, and 
fwore he would pay him againc when bee wat able: I 
thinke [he Frnchmm became hit furetie.and feald vadcr 
for another. 

Ner. HowIikeyoutheyongCmn^mf, iheDukeof 
S*xmei Nephew ? 

Per, Very vildely in the morning when been fober, 
and moft Tildely in the afiernoone when bee is drupke : 
when he is beft,heis a little worfe ihen a man, and when 
heis worft he is little better then a beaft and the worft 
fall that euetfell,! hope I (ball make flilftto goe with- 
out him. 

yVrr.If he (bould offer to choofe,and choofe the tight 
Casket .you fhould tefufe to performe yourFatbera will, 
if you (hould refufe to accept him. 

tor. Therefore forfeare of the worlt, I pray thee fet 
adcepeglatreofReinifh.wineon the contrary Casket, 
for if thcdiucll be witbin, indtbat tempiaiion without, 
I know he will choofe it. I will doe any thing Nerrijfd 
<rt I will be married to a fpunge. 

Nir. Younctde not fearc La^y the hiuing any of 



i6, 



thefe Lords, they haue acquainted me with their deter- 
minations, which is indcede to reiumcio their home, 
and to trouble youwithnotTiorefuiie,vnlc(re you may 
be won by fome other fort then your Fathett impofiti- 
on,depending on the Caskets. 

Ptr. IfIliuetobeasoldeat'.^iJ/'2<, 1 will dye as 
chafte at Z>;aM: Tnlefle I be obtainedbyihe manner 
of my Fathers will : I am gbd this parcel! of wooers 
areforeafonable, for there is not one among ihem but 
I doatc on hit Terie abfence : and I wifli them a faire de. 
parture. 

Ntr. Doe you not remember Ladie in your Fr 
thers time, a yncctan, aScholler and a Soutdior that 
camehirherm compame ofihe Marquefleof olfjiru;- 
femi ? 

Vtr. ye5.yes>wat2-i/4»«,aslthinke, fo was bee 
calld. 

Ntr. True Madam, bee of all the men that eucr my 
fooli(b eyes look'dvpoi), wat the beft defeiuinga faire 
Lady. 

Tar. I remember him wtll,and I retnembei him wor- 
thy of thy praife. 

Enter a ScrMingmai, 

Set. Tbefoore Strangers fecke you Madam to take 
their leaue: and there is a fore-runner come from a fift. 
the Prince of «t/»r<j«, whobrings word the Prince his 
Maifter will be hf re ro nighi. 

Tar. If I could bid the fift welcomewith fo good 
heareasi canbidtheother fourefaicwell, I ftiould be 
glad of his approach : if he haue the condition of a Saint, 
andthecompleiionofadiocU, 1 had rather bee ftiould 
fhiiue me then wiue me. Come NerriJjdi,(jrTa go before; 
whiles wee ftiut the gate vpoij one wooer , another 
knocks at the doore. Exeunt. 

EtiitT Btjftris tritb Shjlocke tht lew, 

Shj. Three thoufand ducates,well. 

"Baff. I fir, for three months. 

Sh}. For three months, well. 

Baff. For the which, as 1 told you, 
jlnthonie fhall be bound. 

Shj. ./^niiin/D fhall become bound, well. 

2<i/r. M ay you fted me ? Will you pltafure me? 
Shall I know your anfwere 

Shj. Three thoufand ducats for ihtec tnonthi, 
and Afithtniohouni. 

"Baf. Your anfwere to that. 

Shj. yiarhffnio n a good man. 

BaJJ. Haue you heard any inipuiatioo to the coo. 
trary. 

Sh)r. Hono.no.no.no: my meaning in faying he is a 
goodman.istohaueyouvndttrtand me that he is fuffi. 
ent, yet his nieanes are in fuppofition i he haih an Argo- 
(ie bound to Tripolis, anotheriothe indies, I vndcr- 
ftand moteouer vpon theRyalta.he hath a ihitd atMeji- 
co,a fourth for England and other ventures bee baih 
fquandred abroad, but ftiipi are but boords,Sayler(but 
men, there be land rats, and water rati, water theeuet, 
andlandiheeuej, I meanePy tats, and therv there is the 
pettill of W3iers,windes.and rocks ; the man is norwith- 
nandingfuH^cient,three thoufand ducaii,! thinke I may 
takehisbond. 

"Saf. Bearturedyoumiy. 

/or. I 



FKANCIS BACON 381 

Signature 144. 

This acrostic is found on the last page of As you like it. (See p. 
383.) 

Note that the last two lines of the play are : — 

' beards, or good faces, or sweet breaths, will for my kind 
offer, when I make curt'sie, bid me farewell.' 

Treat these two lines as if they were a string of letters. 

Begin to read from the initial B of the word ' beards'; to the right 
and downwards; throughout all letters of all words in the two lines 
in the usual way ; spelling Bacono, you will arrive at the initial O 
of the word ' offer.' 

The acrostic figure here is: — 

Beards 
A 

C 

o 

N 
Offer 

Note that this acrostic may also be read from the initial O of the 
word ' offer'; to the right; upwards, and ending on the initial B of 
the word ' beards.' Seventy-eight letters are in this string. 



382 SOME ACROSTIC SIGNATURES 

Signature 145. 

This acrostic is found in the ' Eiiilogue,' by Rosalinde, to As you 
like it. 

Note the two capital O's, or ciphers; the only capital O's in the 
' Epilogue.' 

Note the text of the lines : — 

' My way is to coniure 
you, and lie begin with the Women. I charge you (O 
women) for the loue you beare to men, to like as much 
of this Play, as please you: And I charge you (O men) 
for the loue,' etc. 

As a working hypothesis let us suppose that the double entente of 
these lines struck the eye of the cipherer. 

Let us begin with the women. Begin to read from the capital O of 
the bracketed phrase '(O Avomen)'; to the right; downwards; on all 
the letters of all the words ; si^elling backwards Onocab Ocsicnarf, 
you will arrive at the initial P of the Avord ' farewell,' the last word 
of the ' E2:»ilogue.' 

Begin again to read from the capital O of the bracketed phrase 
'(O men)'; to the right; downwards; on all the letters of all the words; 
spelling backwards Onocab Ocsicnarf, you will again arrive at the 
initial F of the last Avord in the 'Epilogue,' ' farcAvell.' Thus keying 
the cipher from tAvo ciphers to the same point. 

The acrostic figure here is : — 



(O women) 






(< 


3 men) 


N 






N 




O 






O 




C 






c 




A 






A 




B 






B 




O 






O 




C 




C 






S 




s 






I 


I 








c c 










N N 










A A 










R R 










Farewell 











Jiyou lil{e it. 



207 



Phc. I wil not eate my word, nowihou ait mine. 
Thy fiithj niy fancie to thee dath cowbine. 

Jnffr StCDnJ Srotirr. 

•i.'Sra. Let me hiue audience for a Word or t*»o: 
I ain the fccond I'oiinc of old SirTi^aUnA, 
That bring thefc tidings to this faire jfiembly. 
"Dtik' Fre3crick_ hearing how that eueric day 
Mcnof greaiwoiih rcfortcdto thisfotrefi, 
Addreft a mightie power, which were op fooie 
In his owne conduit, purpofejy 10 nkc "^ 
His brother heere, and put him to the fwotd : 
And to the skirts of this wilde Wood he came j 
Where, meeting with an old Religious man. 
After fome queftion with him, W3s<onueitea 
Both from his eaierpuie^-andGom tlie world i 
His crowne bequeathing to his banifh'd Brother, 
And all their Lands reftor'dtohimagaine 
That were with him exil'd. This to be true, 
Idoengagemylife. 

'Dn.Sc. Welcome yong man ; 
Thou offer'ft faiiely to thy brothers wedding t 
To one his lands with-held, and to iheothet 
A land it felfc at large, a potent Dukcdome. 
Firft, m this Forreft,let vs do thofeends 
That hecio vvete well begun, and wel begot: 
And after, euery of this happi: number 
That haue endut'd (Virew'd dales, and nights with V», 
Shal (hare the good of our returned fortune. 
According to the meafure of their flares. 
Meane time, forget this new-falne dignitie. 
And fall into out Ruflickc Reuelrie : 
Play Muficke, and you Brides and Bride-groomesall, 
With meafure heap'd in ioy, to'th M.eafurcs fall. 

Itij, Sir, by your patience : if I heard yon rightl)<i 
TheDuke hath put onaReligious life. 
And throwne into negleik the pompous Couic. 






a.7>Vff. He hath, 

/<y. TohlmwillI:ouf ofthereconucrtitet. 
There is much matter to be heard, and learn'cJ : 
you to your former Honor, 1 bequeath 
■your patience, and your venae, well defeiuesit. 
youtoaloue,ihatyoutcruefaiihdoihmeiiti 
■you to your land, and louc, and grea t alliej: 
you to a long, and wcll-deferued bed: 
And you to wrangling, for thy louing voyage ■ 
I< but fortwomoneths viiluall'd : So to youtpleafurcs 
i am for other, then for dancing meazutes. 

Du.Se, Stay, /j,j«f;, flay. 

laij. To fee no pafiime, I: what you would haue, 
lie ftay to know, at your abandon'd caue. Exit. 

Da.Se. Proceed, proceed : wec'l begin thefe lights, 
As we do truft, thcy'l end in true delights. SxU 

"Tiof. It is not the fadiion to fee the Ladle the Epi- 
logue: but it is no more vnhandfome, then to fecihe 
Lord the Prologue. If it be true, that good wjne needt 
no burti, 'tis true, that a good play needci no Epilogue. 
Yettogoodwinetheydovfegoodbofhei :'and good 
plaves proue the better by the beipe of good Epilogues: 
What a cafe am I in then, thatamncithers good Hpi- 
logue.norcannocinfinuatewithyou Inthe bt^alfeof a 
good play? I am not futnifli'd like a Begger, ' ihereforc 
tobeggewill not become mee. My way is ta coniure 
you, and He begin with the Women. I chargeyou (O 
women) for the loueyou beare to men, to like as much 
ofthiiPlay.aspleafeyou: And I charge you (O nun) 
for the loue you beare to women (as I percci»e by your 
(imprmg.none of you hates them) that betweenc you' 
and the women, the play may pleafe. If I were a Wo! 
man, Iwould kideas many of you «$ had beards that 
pleas'4 me, complexions that lik'd me, and breathj that 
I dcfi'de not : And I am fure, as many ashjuecood 
beards.or good faces, or fwcet breaths, will for my kind 
offer.whenlmakecurt'fie.bidme farewell, £xit 




384 



SOME ACROSTIC SIGNATURES 



Signature 146. 

This acrostic is found on tlie first page of The Taming of the 
Shrew. 

Note the last line on the page, and in it the words ' name: but ' — 

' I haue forgot your name : but sure that part.' 

Begin to read on the initial B of the word ' but ' ; to the right ; on 
the initials of the outside words of the two columns taken together; 
completely around the page; spelling Bacon, you will arrive at the 
initial N of the word ' name.' 

The acrostic figure here is : — 

— Christophero And 



T 



-Or- 



-Name But- 



Note that the complete sentence is: — 

' I haue forgot your name : but sure that part 
Was aptly fitted, and naturally performed.' 



THE 

Taming of the Shrew* 



oJUiti primm. Scoena Trima. 




Enter Btigtriuid Ha^n.Clirifl'fieraSij. 

Seller. 
iLe pheezcyou infaith. 

//ff/?.A piire of flocket you ro^Uf. 
Beg. Y'ate a baggage, the Slin arc no 
Rogues. Looke in ihe Chroaicles,we came 
'in with T^ichdri Cm^aermr : thcccfoicT'oM- 
cas pallah-u, \ct the world Aide : SefTa. 
Heji, You will not pay for the glafles you haue buift ? 
Bejr, No, not a deniere; go by S-li'onimie, go? to thy 
cold bed, and warmc thee. 

Htjl. I Itnow my remcdie J. mull go tcich (he Head- 
borough* 

"Se^. Third, or fourtli, orfift Borough, llcanfwere 
hifn byXaw* Uc QtSt butigein inch boy : Let hinxome, 
and kindly. FnUa ijleefe. 

WmieKcmtt. Enter a Lcrifrom hiirtiyiiMith hi) traine, 

Lo, Huntlinan Ichacge thec.tender wel my hounds, 
Brach Merimm, tne poote Cutte is imboft. 
Andtouple C/wiitr with the d<tpe-mou[h'd bracb, 
Saw'ft thou not boy how Sitaer made it good 
At the hedge corner, in the couldeO fault, 
I would not loofe the doggc for tweinie pound. 

Hunif. Why Belman is at good as he my Lord, 
He cticd vpon it at the mecrcfl lolTc, 
And twice to day pick'd out the dulltfl fent, 
Truftme,! take him for che-betterdogge. 

Ltrd. Thou art af oole,if£cf4»were asfleete, 
I would eDeeoK him worth a dozen fuch: 
But fup them well.and looke vnto tbcm all. 
To morrow I intend lo hunt againe, 

Huntf. I will my Lord. 

Lord. What's heere?Onedead, or drunke ? Sec doth 
he breath? 

i.Wkh. He breath's my Lord. Were he not warm'd 
with Ale, this were a bed but cold to fleep fo fopndly. 

Ltrd. Ohmonftrousbeaft,howlike3 fwinchelyeJ.' 
Grim death,howfoule and loathfotne is thine image: 
Sirs, I will prailife on this drunken man. 
Whatthinkeyou,ifhewete conuey'd lobed, 
Wtap'd in fweet cloaihcs: Rings put vpon his fingers : 
A moft delicious banquet by his bed, 
And braue attendants neere him when he waketj 
Would not the begger then forget hlmfelfe? 

I .//■«». Beleeue me Lord, I thlnke he cannot choofe, 

i.H.It would feero flrange vnto him when he wak'd 

Lard, £uen as aflatt'ruigdreame,ot worthies fanticj 



Then take him vp, and manage well theieA : 
Caitie him gently to my faireft Chamber, 
And hang it round with all my yvantonpiauttif 
Balme his foulc head in warmc diflilled waters 
And butne fwcetWood to make the Lodging fwectc 
Procure mcMulicke readie when lie wakes. 
To make a dulcet and a hcfluenly found ; 
And if he chance to fpeake, bereidie ftraight 
(And with a lows fubmilliuereuercnce^ 
Say, what is it your Honor vvil command: 
Let oneatiend him vviib a filucr Bafon 
FuUofRofc-water, and befltew'd with Floweri 
Another beare the Ewer: the third a Diaper, * 
And fay wiltpleafe yourLordfliipcooleyoui bandl, 
Some one be readie with a coftly fuire , 
And aske him what appatrel he will weare : 
Anothei tell him of his Hounds and Horfc, 
And that his Ladle mournes at hisdifeafe, 
Petfwadehim that he bath bin Lunatickr, 
And when he fayes he ii, fay that he dteanje*, 
Forheisaothingbuta m"igh(ie Lord : 
This do, and doitklndly.gentlefirs. 
It wil be paftime pafTng excellent, 
Ifitbe husbanded with modcftie. 

I .Hmuf.Uy Lord I warrant you we wil ptiy ourcM 
As he fballthinkf by our true diligence 
He is no lefTe then what we fay he is. 

Lard. Take him vp gently, and to bed with him, 
Aodeach one to hUoffice when he wakes. 
... , , SeunJtrmMtl, 

Sirrah, gofee what Trumpet •tisthat founds. 
Belike fomc Noble Gentleman that meanes 
(Ttauellingfome iourney) 10 tepofe him heete. 

Enter Serumgnua. 
Hownow?whoitit; 

Srr, An'ipleafe your Honor, Player* 
That offer feiuice to your Loidflilp. 

Siunrlfjert. 

Lord. Bid them come neere: 
Now fellowe»,you are welcome. 

Plitfiri. We thanke your Honor. 

Lord. Doyouintendtoflay withmetoaight? 

i.Tlirfn; SopleafeyouiLotdftiipp* to accept out 
dutie. " 

Lord. With all my heart. This feUow.I remember, 
Sipce once he plaide a Farmers eldett fonne, 
Twas where you woo'd the Gentlewoman foweljj 
I haue forgot your name : but fure that part 



386 SOME ACROSTIC SIGNATURES 

Signature 147. 

This acrostic is found in The Taming of the Shrew, on page 214, 
which is wrongly numbered 212, in the facsimile edited by J. O. 
Halliwell-Phillipps. 

Note that the initial of the first word of the last line in the first 
column is the B of the Avord ' Ba2:)tista.' 

Begin to read from the initial B of the word ' Baptista ' ; to the 
right; upwards; on the initials of the words; spelling Bacono, you 
will arrive at the initial O of the word ' offence.' 

Now begin at the diagonally opi^osite corner of the block 6i type 
which begins with the line : — 

' Gentlemen, God saue you. If I may be bold,' 

Begin to read from the initial B of the word ' bold '; to the right; 
downwards; on the initials of the words; spelling Bacoxo, you will 
arrive at the initial O of the word ' offence ' again : and thus keying 
the cipher. 

The acrostic figure here is : — 





If I may 


be Bold 
A 




C 






O 






N 




is it any 


Offence 




N 






O 






C 






A 






Baptista is a 


noble Gentleman. 



2I4- 



TljeTatning oftheShrm, 



VpoQSgreemcncfcomTS tohisliiiuig. 
Will vndeitalt c co woo turft fjahtriiu, 
YeZi suid to maiti: her, Sfhu dowritplcafe 

<7r«. Soniid,rodoD«,iiVfelt! 
liiirunft>,i>3\ie you told hitn d1 hn faulci ? 

Frrr. ] know llie is an irkeTome brawling CcAd i 
If chat be all Ma(l«f {, I heaie no hamie. 

grt. No, fayfl me fo, friend i Whac Coaatttjmtoi 

Peer. Borne iD^Viiru,old7«r«>f«/ Tonne: 
My father dcad,roy fottiuir liaes for me. 
And I do hope, good dayei and long, to fe;. 
I Cre. Oh fir.fuch a life wiih fuch a wifc.wert fitange; 
'Bucifyouhauesnomacke, coo'caGodiaaroe, , 
Yoi) (halhauomeafliftingvouinalU 
,Buc will you woo thitWiloe-cacf 

Pe:r. Willlliue? 

Cm. Wilhemoohet?!: orllehangher. 

Pitr. Whycamelhither.buttotbat intent? 
TMoke you, a little dinne can daunt mine earcs ? 
Haue I not inmy time heard Lions rore ? 
Haue I not heard ihc Tea, puft Tp with windes^ 
Rage like an angry Boate, chafed with fwcat f 
Hauelnothcatd great Ordnance in the field? 
And heauens Attillerie thunder in the skits? 
Haue I not in a pitched battell heard 
Loud larums, neighing {lced»,!i trumpets tlangiie ? 
And do you tell me ofa viofnant tongue ? 
That giues not halfefo great a blow toheate. 
As wil a Cheffe-nut in a Fattreti fite. 
Tulh.tufh, feare boyes with bugs. 

Cra. Forhefearesnone. 

Crem. K»r:riA»hcatke: 
ThiiGentleman is happily atriu'd. 
My mindeprcfumes for his ownegood.and yours. 

Htr, I proaiift we would be Contributors^ 
And beare his charge of wooing whatfocre. 

Crtmu. And fo we wil,prouided that he win her. 

Crf. I would 1 were as fuie ofa good dinner. 

Eat IT Tt*x!o trme. And 'BhtitHii. 
Trt. Gentlemen God faueyou. Iflmaybebold 
Tell me I befeech you, which r> the teadieft way 
To the houfe of Signiot Btpiipa MimU ? 

"Bm. He that ha'j the two faite daughters: ift he you 
meanc? 

Tra, Euenhe£i»»<ff/f», 

Crt. Heaikeyou (ir,youmeanenother to . 

Trg. Perhaps him and her (i r, what haue you to do ? 

Pitr. Not her that chides fir.st any hand I pray, 

Tramio. 1 loue no chiders (Ir : "SmittltjXtii away. 

Lm Well begun TViM/J. 
Uor, Sir, a word ere you go; 
Are you a furor to the Maid you talke of, yea or no ? 

7>J. And iflbe fir, isitany offence? 

Crcmit.Ht :if without mote words you will getyou 
hence. 

7'm. W hy (ir, I (iray ate not the ftrcKS at free 
For me, as for you ? 

Cre. BucfoisnotOie. 

Tr». For whatieafonlbefeechyou. 

5'rf. Forthisreafonifyou'lkno, 
That file's the choife loue of Signiot Cremu, 

Hot. That flie'l the chofen offignior Henenjio. 

Trt. SoftlytnyMafters :IfyoubeGemlemen 
Dome ihi$rigKr:hcarc me with patience. 
Bifiipa'ii a noble Gentleman, 



To whom my Father is not all vnknowne, 
Andwetehis thoghteifairerihenfheit. 
She may more furors haue, and me for one, 
Faite Ledaet daughter had a thoufand wooers. 
Then well one niore may faire Z/iusrdhaiie; 
And fo fhe fhaitiiacfBirtfhal make one, 
Though Paru came, in hope to fpeed alone. 

Cre. What, this Gentleman will out-talke v« all. 

'Lye, Sir giue him head, I know heel proue a lade, 

fetr. Hertenf },iovih>t end i:e all thefe words? 

Her. S\!, let me be fu bold ai atke you. 
Did you yet euer fee 'Sapufias daughter .' 

7><. No fir, but hearel do that he hath twos 
The one, as famous for a fcolding tongue. 
As is the other, for beautcoui modeflle. 

Peir, Sir,fir. the fiifl'j fot me, let her go by. 

Cre, Yea, leaue that labour to great Herculti 
And let it be more then iAUtdes twclue. 

Pttt. Sirviideifiandyou this ofme(inroothj 
The yongeft daughter whom you hearken for. 
Her faihei kecpcs from all accefle of futors. 
And wiUnotptomifehcrtoanytiianj ' 
Vntill the elder fifter fiift be wed. 
The yongtc then is ftce, and not before. 

TrmiD. If it be fo fit, that you are the man 
Mud Deed vs all, and meamongft the reft : 
And if you breakc the ice, and do this feeke, 
Atchieue the elder : fet the yonget free. 
For our jccefTc, whofe hap (VijII be tohaueher, 
Wil not fo gracelelfc be, to be ingrate. 

f4cr. Sir you fay wel, and wel you do conceiue. 
And fince you do ptofclTe to be a futor, 
Youmuft as we do, gratifie this Gentleman, 
To whom we all reft generally beholding. 

TrAHic. Sir, I fhal not be (lacke.ln figne whereof, 
Pleafe ye we may contriue this aftcrnoone. 
And quaffe carowfes to out Miftretfc health. 
And do as aduerfaties do in law, 
Siriue mightily, but eate and drinke ai friends. 
Cru.'Bien.Oh excellent motion: fellowes let's be gon. 
Her. The motions good indeed, andbcicfo, 
PctrKehlt,\ fhal be your 2«n ve'ute. Sxtnut 

Enter Kathnina tii'Bianea. 

5<*:.Good fifter wrong me not,nor wrong your Mt, 
To make a bondmaide and a fliue of mee. 
That I difdaine : but for thefe other goods, 
Vnbinde my hands. He pull them off my felfe. 
Yea all roy raiment, to my petticoaie, 
Or what you will command me,wil I do, 
So well 1 know my dutle to my elders. 

Kaie. Of all thy futors heere I charge tel 
Whom thou lou'fi beft : fee thou diflemble nou 

"Bianet. Beteeue me fiOer, of all the men alius, 
I neuer yet beheld that fpeciall face, 
Which I could fancie, more then any other. 

K*te. Minion thou lyeftils't not //»rr<Ai/i»? 

Bitn. If you afff ft him finer, heere I fweate 
Be pleade fot you my felfe, but you dial haue him. 

Kate. Oh then belike you fancie riches mofe, 
You wil haue Cremie to kcepe you faire. 

"Bian. Isitfot himyoudoenuiemefo? 
Nay then youiefl, and now I wel perceiue 
You haucbut iefled with me all this while. 
I prethce fiftei Kate.vntierov hands. 

Ha, Ifib«tbeieft,thro»lltheteftvtasfo, Sttikitf"' 



388 SOME ACROSTIC SIGNATUEES OF 

Signature 148. 

This acrostic is found on the first two (facing) pages of AlVs 

Well that Ends Well. (See pp. 390-391.) 

Note the capital N at the upper right-hand corner of the ornamental 

. IN 
initial at the head of the text on the first page of the play 



We shall use the capitals only. 

Begin to spell from the capital N at the upper right-hand of the 
initial; to the right; downwards; throughout the whole of the text 
of the two pages; on the capitals alone; spelling backwards Nocab 
SiCNVARF, you will arrive at the capital F of the last word 
('Friends') of the right-hand page; having keyed the signature 
clear aci'oss the two pages from opposite corners. 



FRANCIS BACON 

The acrostic figure here is: — 



389 



N 



O 



C 



B 



S 



C 



N 



E 

remember thy Friends. 



25^ 




ALLS 

Well,tliatEnds Well. 



qjclusprimiis. Scam Trima. 



tnteryong Bnnam Ccmt cfRclfUion , tiii -JMithtr, and 
fkUnt, Lord lafiir, allm tUekr. 

Kylfolhtr. 
«j5tsi5«»»Nl(Jeliueringniyfoi\no fromirc, I buiieafe-' 

^^fey /ti)/: And I in going Madam, w«p ore my 
"""•"'fithcts death anewjbui 1 muft attend his intic- 
ftiei corom jn J, \a whom 1 ain now uv Ward, oucrmorc 
infubieflion. 

L'f. You fhall find of the King a husband Madame, 
you fir a father. He that fo generally is at all times good, 
inuft of necelTitic hold his veitue to yoii, wliofe worthi 
neffe would ftitre it vp where it wanted rather then la^k 
U where there is fiich abundance. 

^/o.What hope IS there of hi Miiediei amendment? 
L*f. Hchathabanclon'd his P^ifuionsMaJam, »n- 
der whofe prad^ifes he hath pctfecuted tim« with hope, 
and finds no other aduantage in the ptocelTc , but oncly 
ihcloofingofhopebytime. \ 

M: This yong Gentlewoman had a father, O -that | 
had, howfadapaffnge til, whofe skill was almofl as 
greataihishoncrtie.liaditrtietch'dfofar, would haue 
inaJc nature ininiortall.and death ftiould haue play for 
lackeofwnrVe. Would for the Kings fake heeweie li- 
uing,IthinkeitwouMbetl»dMthoftheKiug»difcafe. 
Ltf, How call'd y ou the man you fpeakc of Madam ? 
Ml. He was famous fir in his profefl^ou, and ii was 
hii great right to be fo : (jtruidc NitUh. 

h'f. He wa'iexcellent indeed Mailam, the KingTtty 
latelie fpoke of him admiringly , and moutningly > hee 
wa« ikilfull enough tP houe liu'd ftil,if knowledge could 
be fet vp againO mortallitie. 

Ao/. What is it (iny good Lotdjthe King laiiguiniei 

L'f- AFlftulamylord. 

Rcf I heard not of it before. 

Z.*/. I would it werenot notorious. WastKiiGen- 
tlewoman the Oaughtcr a'iGirariiit Narim ? 

//*. Hisfole childemy Lord.andbequctthedtomy 
ooer looking. Ihaueihofc hopesol her good, thather 
education promifes her difpofitions fliec inhetits.whkh 
makes faire gifts fairer: for where an vncleane mind caf- 
ries .vertuous qualities, there commendations go with 
piity, they are vertuei and traitors too: in her they are 
the better for cbeir HmplenelTe; fhe deiiues her hoiicilie. 



and atcheeues her goodnefle. 

Ltftv. Your commendations Madam get ftomhn 
icares. 

yt/o.'Tis the beft brine a Maiden can fcafon her pralfe 
in. The remembrance of her father neuer apptoches her 
heait.but the tittany of her forrowes takes all liuelihood 
fiooihqrcheeke. No more of this //^/m*, go too, no 
mote lead it be rather thought you affcft a foirow,then 
to haue— — 

Htit. I doe affeifl a forrow indeed, but I haue it too. 
Laf. Moderate lamentation ij the right ofihc dead^ 
exceffiue greefe the enemic to the lining. 

Mo'. IfiTieliuing be enemic to the grecfcjihetxcclTe 
inakes it foone mottall. 

Ruf. MadJam I defire your holic wiflies. 
Z.i/. How vnderfland wc that .' 
Mo. Be thou bled tosrinne, and fucctcd thy fatlieti 
In manners as in Hiape: thy blood and vcrtiu 
Contend for Empire in thee, and thy goodnrffe 
Share with thy bitth-right. Loueall.truftafcw, 
Doe wrong to none : be able for thine cncmie 
Rather in power then vfc : and kecpe chy fiiend 
Vnder thy owne lifes key. Be chcckt for iilence, 
But neuet tax'd tot fpeech. What hcaucn mote wil , 
Thattheemay furnifli, and my prayers pluckedownCj 
Fallonihyhead.Farwellmy Lord, 
'Tis an vnfcafon"ilCouttierj good my Lord 
Aduifeliim. 

Lif. Heeannotwantlhtbct) 
That n-iall attend his loue. 

Mp. Heauen blcffe him : Fanwell "Birlmm. 
ifo.Th: beft willies that can be forgd in your thoglitj 
teferuants to you; be comfortable to my raother,yout 
Milltis. and make much of her. 

Luf- Farewell prettie Lady, you mall hold thecie- 
dit of your father. 

Hell. OHereth»talI,Ithinkenotoii my father. 
And thefe great teatcs grace his tCBiembrance mete 
Then thofc I fhed for him.What was belike? 
I haue forgott him. My imagination 
Carries no faiiour in'i but "Strimms, 
lam vndone, theie iinoliuing.nonc, 
\(Berirsm be away. 'Twere all one. 
That I fhould loue a bright paiticuler flatce, 
Aud think to wed it, he is fo aboue inc 
In hisbdght radience andcolaterallligbt, 

" Mufti 



<iAll'sWell,that&u{sW€lI. ^ 



Mufi I be cemfotted, not ia his fphcie ; 
Th'ambitian in tsy loue thus pUgue» it felfe; 
The hind th3L would be nntc4 by the Lion 
MuS die for louc 'Twas prettie, though 3 plague 
To fee him fluerie honre u> fit and draw 
His irchedbrowei, his hawking eie, hiccutlet 
In oat heait» table : heatt too capcable 
Ofcucrielinc andwckeofbis fwectfauour. 
But now he'tgone, and my idolatrous fancie 
MuftfanftifiehUKeliques. Who comes heetc* 

ZmeTPxTTtSis. 

Oae that goes wiih him : I luue him fo: his fake, 
And yet I know hinkaoottnious Liar, 
Thiokehnn a great way foole, folie a cowird, 
Yettheffriiit ouJU fit. Do Ac in liim, 
That they takeplace, when Vet cues flcely bones 
Lookesbleakcicb cold wind : wichsll.fuU oftewefcC 
Cold wifedome waighimg on fupcifluoUS folUe« 

Pa-. Saue you fijic Queene. 

fill, AndyoaMonaich, 

P^ir. No, 

Hel, And no. 

P*r. Are you meditating on Tirginitief 

HeL Uyoabaucfomeftainoofrouldicc iiyoD;Let 
oee aske you a quel) ion. Mm is enemie to vitginiiie, 
how may we bariacado ic agaioA hin ? 

Ptr, Keepehimoui. 

tiiU ButbeaffaUetjandcur Tirginitie though vali- 
ant, in the defence yet it weak : vnfold to vi fomc war- 
like refiftance. 

Ptr, There is none : Man fetting downc before you, 
wllvndertnine you, and blow you tp. 

Htt. Bleffe our poore Virginity trom vnderminert 
•ndblowerivp. Is there no Military policy how Vir- 
gil might blow vp men l 

Pur. Virginity beeing blowne downe, Man will 
quicklietbeblownevp-.manyin blowing himdowne 
agaiae, with the breach your ichies made.you lofc yoiir 
Otty. Itisnotpoliticke, in the Common-wealth of 
Natuie,topreferue virginity. Lofl'c of Virginitie, ic 
rationtll encreafe, ana ihcrc was neuet Virgin gee, till 
virginitie was firft loft. That you were made of.is met- 
talltomake Virgins. Virginitie, by beeing onccloli, 
raaybeten times found: by being euei- kept, it is eucr 
loft; 'tis too cold a companion: Away with't. 

till. Iviillftandfos'tilittlej though thercforcldie 
» Virgin. 

Tar. There's litde can bee faidein't, 'tis jgainftthe 
ruIeofNature. Tofpcakeonthepatt of virginitie, is ■ 
to aecnfey out Mothers; which is mo ft infallible diio- 
bcdiente. He thathangshimfelfe is a Virgin : Virgini- 
tie murthen it felfe,8nd fhould be buried m highwayes 
out of all fanftified limit, asadefpetate Offendrcfle a- 
gainft Nature. Virginitie breedcs mites, much like a 
Cheefe, confumes it felfe to the »eiy payring, and fo 
dies with feeding his owne ftomacke. Befides.Virgini • 
tielt peeuifli, proud, ydle, made of fdfe-loue, which 
is die moft inhibited finne in theCannon. Keepe it noti 
yottcannotchoofebui loefe by'<. Out with't: within 
tea y«r« it will make it felfe two,whichist goodly in- 
cretfe, and the principall it felfe not much tne vrotfe . 
Away With't. 

UtU Hew might one do Cr.iotoQftictotxrtmne 
llking»' 



2:54 



Pm: Letmeefee . Marry ill, to like him that"n?rt 
it likes. "Ti J a commodity wil lofe the glofle with lyiogt 
The longer kept.theleffcworth: Off iviih't while "fa 
vendible. Anfwectheiiroeof requcft, Virginitie lite 
an olde Courtier, wcares her cap out of faftion, richly 
futed, but viifutcable, iuft like the brooch & the tooth 
pick, which were not now: your Date ii better inyour 
Pye and yont Porredge, then in your cheeke : and yout 
Yirginity,youroldvirginity,,sl,|(e one of oUfFrench 
wither'dpeares.itlcokesill.it eates drily, mstiy Yi*« 
wiihcrd pcarc : it was formerly better, marry y«( 'tj, , 
withcr'd peare : Will yoo any thing withjt / 

Htl. Not my virginity yet.- 
There (hall your Mafter haue a thoufandloufs, 
A Mother, and a M Iftff (Te, and a friend 
A Phenix.Captaine, andanrnemy, 
Aguidc.aGoddeffcand aSoueraigne, 
A Counfellor.a Traitorcffe, and a Deare : 
His humble ambition, proud huniijity: 
Hit iarring,concoid:and hit difcord.dnlcet: 
His faith, his fwcct difafter : with a world 
Of pretty fond adoptious chriftendomcs 
That blinking Cupid goffips. Now (liall he: 
1 know not what he fliall, God fend him well,- 
The Courts a learningplace, and he is one. 

P»r. What one tfaith? 

tict. That I wi(h well, 'tis pitty. 

Ptr, What's pitty? 

Uet. TJiat wifhing weHhad not a body in'r. 
Which might be felt, that we thepoorer borne, 
Whcfe bafcr fiarres do fhut vt »p in w!(hct. 
Might with ctfeiSs. of ihem follow our friends. 
And (hew what we alone oiufl tT)inke, which neuer 
Returnes'vsthankci. 

'EnltrPtgt, 

Pug. Monfieur P«7T»fflr/, 
My Lordcals for you, 

f^r. Litde Ht&»fareweH,ifIcanrememb«Tthee,I 
will thinke of thee at Court. 

Htl. MonCKM Pxreliet, you werebomevnder a 
charitable llarrc. 

P,ir, VndcrM<ii-/I. 

Htl. I cfpecially thinke, vndcr^l^/. 

Tar Why viidcr A/ar/^ 

Ifel. The warres hath fo kept you Tnder,'that yoB 
niufi nccdes be borne vndcr M*rt. 

Par. Whenhewaspredominsnr, 

Het. When he was retrograde I thinke rather. 

F^r. Why thinke you fo ? 

Hel. 1foii go fomuch backward when you fight; 

Par. That's foraduantage. 

Hei, So is running away, 
When fearepiopofcs the fafeiie : 
Butthecompofition char yourvalour aad fearemaVes 
in you, isa vcrtuc of agood wing , and Hike the 
wearewell. 

T.mill. lamfofuUof bufipcTes, I cannot anfwere 
thee acutely : I will recurne perfeifl Courtier, in the 
which my infiruiSion (hall ferue to naturaliie thee, fo 
thouwiltbecapeableofaCourticrs councell, andrn- 
derlhnd what aduice (hall thruft vppon thee, elfe thoa 
die(l in thine vnchankfi;lnes,a.id thine ignorance make* 
thee away, farewell : When thou ha(5 leyfore , fay thy 
prsiers : when thou haft none, remember thy Friends : 
V , Ge, 



392 SOME ACROSTIC SIGNATURES OF 

Signature 149. 

This acrostic is found in All 's Well that Ends Well, on pages 
249 and 250, which are wrongly numbered 251 and 252. (See pp. 
394, 395.) 

Note the initials B O of the words ' But O ' in the line at the 
toj} of the right-hand column of page 251. 

Treat both these wrongly numbered pages as one page. 

Begin to read from the initial O of the line at the top of the right- 
hand column of page 251; to the right; on the initials of the out- 
side vfov As of the text of the two pages; spelling Onocab (i. e. 
Bacono), you will arrive at the initial B of the word ' But,' having 
keyed the cipher by completely circling the initials of the outside 
words of the whole of the two wrongly numbered pages. 



FRANCIS BACON 

The acrostic figure here is: — 



393 



Page 251. 



Page 252. 



-Count- 



-And But O- 



Night 



One 



This figure shows the four columns and the words which are 
involved in the cipher. 



^lumithtSitdsirdL 



2Sl 



fitioD of ihii Iifciulons yongboy tht Caunt.hiue I run i 
into this dinger: ytt who wonld bane fufpcScd an »ni- j 
buft where 1 wanakct^? ' 

Int. There ij no rcmtJy fir, but you rouft dye t the 
Genenll r>ye>. you tt>" ^^* ^o traitoroody difceuerd 
the fectets ofyour army, and io?de fuch ptlli&rous te- 
portf of men very nobly held, cm fcruethe world for 
n<} honed vfe ihcreforeyou mud dycv Comeheadef- 
nian, off with his bead. 

Par. OLordfitletmcIiuc.orletmelee my death. 

Int. Thatdiallyou, andtajieyoutleaueof all your 

friends 

So, looVe about you, know you any hcf re ? 

Ceur.t. GoodmorrownobleCaptaipe. 

tt.E. GodblefTeypjl'CaptaineP^-ei'f/. 

Cif.C GodfaueygurioblcCaptaine 

Lt. S. Csptain , what greeting will you to my Lord 
I<fiTr?lamforFM>iff. 

cjf-G. Good Cap"'"' ""''i y°" 8"" ■"' * ^°py "• 

thefonnet you writ lo Diint in behalfe of the Count 
i?«^*M,andl were not a vericCoward, Idccompell 
It of you, but far you well. Bxtrnti, 

ht Yru arc yndone Captaineall but yout (catfe, 
thathasaknoton'tyet. 

Ttr Who cannot be trufti'd with a plot ? 
InitT If you could finde out a Countne where but 
women were that had receiuedfo mu<hfhamc, you 
might begin an impudent Nation. Fareyee wellfii, I 
am for Frj':cc too, we fhall fpeaVe of you there. Exit 

T*r. yetamlthanVfull ifmy heart were great 
Twould butft at ihii : Captame He be nomote. 
But t will eate. and drinle, and fleepe as foft 
AsCaptaine fhalf Simply the thing I am 
Shall make me liue : who knoweshimfclfc a braggart 
Let bim feare this , for it will come to paffe, 
That euery braggart fhill be found an AlTe. 
Ruftfword.cooleblofhes.andFjrru&jliue 
Safeft in fliame . being (oord.by fool'ric thnue; 
There's place and n.eanes foi euciy man iliuc. 
He after them. f'"' 



lUI. That you may well pcrceiue I haue not 
wrong'd you, 
One of the greateft in iht Chtidian world 
Shallbemy furelie • for whole throne tiintedfull 
Ere I can perfeifl mine intents, to kneele. 
Time was, I did hini a defii ed office 
Deete almofl ashii life, which gratitude 
Through flintie Tartars bofomc would peepefoTth, 
And ani'wer thankei, 1 duly am mform'd. 
His grace mtWdrrc/Ix. to which place 
We hjue cnnuemcnt conuoy . you muilknow 
Ijmfuppofeddead.the Army Dteaking, 
My husbandhicsMm home, where heauen ayding, 
Andbytheleaueofmy goodLordtheKuig, 
Weel be before our welcome 

Wid Gentle Madart), 
Youneuerhadaferuanttt) whofetiuft 
Yourbufinej was mote w<lcorhe, 

Htl Nor your Mifttis 
Euer a friend, whofc thoughts more truly labour 
To recompence your lone ; Doubt not but heaiien 

IHith brought me vp to be your daughters dowet. 
As it hath fated het to be .ny moiiuc 



And,helperw»husb»n(f. ButOflrangemen, 

Thatcan fuchfwect rfe make of what they hate. 

When fawcie trufting of the cofin'd thought* 

Defiles the piichy oight, fo Iu(l doth play 

With what It loaithci, for that which is ivvf. 

But more ofthishccteafter: you ©idia, 

Vndetmypooteinnru£iionsyecmu()fuff<t 

Something in my bchalfe. 
DiA. Let death and honcfiie 

Go with yout impofitions, I am yourt 

Vpon your will to fulfet. 
Htt. Yet I pray you: 
But wiih the word the time will bring oI^ fummer. 
When Biiats fhall haue leaucs as well as thornes. 
And beat fweetasDiarpe: wemuftaway. 
Our Wagon is prepat'd, and time teuiues »s. 
All's well that ends well, dill the fines the Ctowne ; 
What ere the courfe, the end is the reno wne. Exuini 

Ldf. No, no, no, your fonnc was mided with afmpi 
taffati fellowr there, whofc villanous faffton wold haue 
made all the vnbak'd and dowy youih of a nation in his 
colour : your daughier-mlaw hadbeenealiueat this I 
houre, and yout fonnehccto at home, tsoieaduancd 
by the King, then by that red-taild humble Bee I fpeak 
of. 

Ls. I wouldlhadnotkoownehim, icwasthedeath 
ofthe mod vertuous gentlewoman, that euer Nature 
had praifk for creating. If Oie had pertaken of my (lefh 
andcodmee thcdecredgroanesof amoiher, 1 could 
not haue owed her a more rooted Icue. 

Ltf. TwasagoodLady, twasa good Lady. Wee 
maypickeathoufjnd fallets etc wee light on fuch ano- 
ther hearbe. 

C/», Indeed fir (be was the fweete Margetom of th» 
fallet, or rather the hearbe of grace. 

Ltf. Theyaienoi heatbesyouknaue.theyarenble- 
bearbes. 

Clmni I am no great Htt>ichei<vier(\i,\\ixitnoX 
much skill in grace. 

Ltf. Whether doert thou profcfTe thy felfe, » knaue 
or a foole? 

CU. A foolc Tir ax a vromans feruice, and a tnaue at a 
mans. 

Ltf, Yourdidinflion. 

Ch, I would coufentheiTunofbiiw'ifeiantldohis 
feruice. 
Lif. Soyouwereaknaiieathisfetuiceindced. 
Clt And I would giue his wife (Tiy bauble fir (o doc 
liet feruice. 

l^f. I willfubfciibcfodhee, thou art both knaue 
and foole 

CId. Atyour fermce. 
Ltf. No, no, no 

Ch Why fit, if 1 cannot ferue you,l canfenie ts 
great a prince as you are. 

Ltf \Vhofethit,aFrenchmaiif 

Ch Faithfirahas an Englinimaine, buthisfiTno- 
mieisniorehotierinFrsncethenihere 

L'f What prince 1$ that? 

CI) The blacke prince Cr, alias the pimce of datVe- 
neffe alias the diuell. 

Laf. Hold idee there's my putfe, I giue thee rsot thli 
tofiigged thee fiom thy mafiet tnoutjilt'ftoff, ferue 

himhiU. 

Ctea 



25^2 



MsWelltbatendsmU. 



C.'». I its I woodUnd fellow fir, that alwaiei loued 
t gre»i fife, •"'l tli* tmfttr I fpcik of eaei krrps 4 good 
fite, but fure he ii the PriiKe of the world, let his No- 
bilitie remiine in's Courc I jm for the houie with the 
nitrow gate, which lukefcbetoolittlefor pompeto 
cntQt : fome that humble tBemfclues iruy, but the ma- 
nic will be too chill and tender, and theylebee for the 
fiowtie way that leads to tlie broad gate, and the great 
fire. 

Ltf- Go thy waies, I begin to bee a wearie of thee, 
and I tell thee fo before , becaufe I would not fall out 
with thee. Gothy wsyes.letmy horfesbewel look'd 
too.without sny ttickes. 

CU. Iflpuiany trickej vpon era (ir, they fhal! bee 
lades tricltesj which are their owiie right by the law of 
Nature. «« 

Laf. A llirewd knaue and an tnhappie. 
Lady.%oi\t. My Lord that's gone made himfclfe 
rnuchfportout ofhim, by his authoritie heeiemaines 
beere, which he ihinkes is a patient for his fawcinefle, 
and indeede he has no pace, but runnes where he will. 

Ltf/". I like him well, 'tis not amiffctand I was about 
CO tdl you, dnae I heard ef the good Ladies death, and 
I (hit my Lord your fonne was vpon his teturne home. I 
moued the King my lajfler to fpeake in the behalfe of 
my daughter, which in the mmotiite of them both, hii 
Miieftieoutofafelfe gracious remembrance did firS 
propofejhisHighreffehathproreis'dmetodoeit, and 
toftoppe Tpthsdifpltafure he hath concerned agamft 
yoiutonne, thereis Bofitccr isaicer. Howdo'syour 
Ladyft>ip hke it? 

La. Wiihveriemucbeontentroytord.and Iwi(h 
it happily effei5>ed. 

Lif. His HighnelTe comes port from M^ctltu/,o(is 
ablebodie as when he numberd thirty, a will be heere 
tomorrow, or I am deceiu'd, by him that in fuch intel- 
ligence hath feldome fail'd. 

Ld. Irreioycesme.thatlhope I niallfee himerel 
die. 1 hsue letters that my fonnc will be heere to night: 
I fh;U b efeech y ou r Lot dfliip to remaine with mee, cUl 
they meele together. 

Zttf. Midatn, I was thinking with whatoiinnerj I 
might fafely be admitted. 

IaJ, Younccdebut pleadeyour honourable priui- 
ledge. 

Ltf. Ladie.ofthatlhiuemadeabold charter, but 
I thankc my God, it holds yet. 

Pntr Clivne, 

C!i. O Madam, yonders my Lord your fonne with 
a patch of velucton's &ce, whether there bee a fear rn- 
der'tornOjtheVeluetknowes, but'iisa goodlypatch 
ofVeluetjhisleft checkeisa cheekeoftwopile and* 
halfe, but his right cheeke is worne bare. 

Ltf. A.fc*ne nobly got. 
Or anoblefcarre,i$ a good liu'rieof honor. 
So belike is that. 

(Jo, But u M your carbinsdo'd face. 

Laf. Let vs go fee 
your fonne I pray you, I long to taike 
With theyorg noble loulditr. 

Ctownc. 'Faith there s a do:en of em, witl> delicate 
fine hats, and mol> coutteous feathers, which bow the 
[ head, and nod&teuerieman. 
\ Exaar 




SntcT HtStn, Wiidgm, miBiant, citb 
tao Atieniaits. 
Kit, But this exceeding pofling day and night 
Muft w ear your (pirits low, we cannot heipe it : 
But fincc you haue made the dales and nights as coe 
To weare your gentle limbes in aiy affayres. 
Be bold you do fo gtow in my requitall, 
AinothiDg caiivnrooteyou. Inhappietime 

pBttT t gentle A^inger. 
This man may helpc me to hi» Maiefties eare. 
If he would fpend his power. God fauc you fir. 
Civt. And you. 

hel. Sir,I haue feene you in theCoutt of France. 

Cnif. 1 haue beene fometiroes there. 

Hel. I doprefumalir.thatyouarenotfalne 
From the report that goes vpon your goodnefle. 
And therefore goaded with moft Qiatpe occaConj, 
Which lay nice manners by, Iput you to 
The Tfe of your owiie venuet, fot the which 
1 fliall continue thankefull. 

Cent. What's your will? 

Ktl, That it will pleafe you 
To giue this poor* peti tion to the King, J 
And ayde me wrih that ftori ofpower yoo baae 
To come into his prefence, 

Cen. The Kings not heere, 

Hel. Not heere fit? 

Ctn. Not indeed. 
He hence remou'd laft night, and with moce haft, 
Then is his vfe. 

tf^ii/. Lord how we loofe our paioes, 

Hel. All's well that ends well yet. 
Though time feeme fo aduetfe, and meanes rnfitj 
I do befeech you, whither is he gone? 

Goit. MarriejsItakeitto^»^l<w, 
Whither T am going. 

Hel. Idobefeechyoufir, 
Since you are like to fee the King before me. 
Commend the paper to hit gracious hand. 
Which I ptefume fliall tender you no blame. 
But rather make you thanke your pames for it 
I will come after you with what good fpeede 
Our mear>es will make Ts meanes. 

Cent. This He do for you. 

Hel. And you fhall findeyeor felfe t? be well thsn.Vt 
what e'te fallej mote. Wemuft to hotfe Jgaine,Go,£0, 
prouide. 

Enter Qfxne and ParnHes. 

Ttr. Good M' Lau^ach giue my Lord Lcfea thiilet- 
ter.Ihaneerenowfirbecne bett :r knowne to ycu,when 
1 haue held fimiliaritie with freilier cloathcs: bjtlan 
now fir muddied in fortunes mood, and CiieU fomewfcjt 
ftrong of her flrong difpleafure. 

C/». Truely, Fortunes difpleafure is but fluttiOs iTit 
fmellfoftronglyasthoafpeak'ftof: I wilihencefoonh 
eatenoFiftiof Fortuaes buct'riog. Pre ihee alow the 
winde. 

P«-. Nay you needenot to fiop y«ur nofe fir: I fpake 
but by a Metaphor. 

CU. Indeed fir, if your Metaphor flinle, I will flop 
my nofe, o r agalnft any roans Metaphor. Ptethcget tliee 
further. ftr. 



396 SOME ACROSTIC SIGNATURES 

Signature 150. 

This acrostic is found on the last page of Twelfe Night. 

Note the initials of the first words of the last three lines of the 

F For 

text preceding the ' Clowne's Song.' They are B of the But 

O Orsino's. 

Treat the last two lines as if they were a string of letters. 

Begin to read from the letter B of the word ' But'; to the right; 
on all the letters of all words in the two lines; spelhng Bacono, 
you will arrive at the initial letter O of the word ' Orsino ' : having 
keyed the name from end to end of the string of letters; thus: — 

BUTWHENINOTHERHABITESTOUARESEENEENEEUQSEICNAFSIHDNASIRTSIMSONISRO 

The acrostic figure here is : — 

But 

A 

C 

O 

N 

Orsino's Mistris and, etc. 

Signature 151. 

Now begin to read from the initial B of the same word ' But'; to 
the right, or to the left; downwards ; on the initials of all words in 
all lines; to the end of the 'Clownes Song' and back again continu- 
ously; spelling Bacono, you will again arrive at the initial O of the 
word ' Orsino ' : having keyed the cipher, to the right or to the left, 
and from end to end of the string. 

The acrostic figure here is: — 

■But 
Orsino s 



Tvael/e J\Qgbt,or,fVhatjouxtilL 



Or f»y. tis not your fealc, not your inucntioti 
youcinf»ynoneofchii. Well, grantitthcn. 
Ad J tell me in the modcdic of honor. 
Why you hiue giuen me fuch cleare lights of fauour, 
Bid me come frailing, and ctoffe-gartct'd to you. 
To put on yellow rtockingj, and to frowne 
Vpon fir Tuf/, and the lighter people; 
Andaflingthisinan obedient hope. 
Why hauc you fuffet 'd me to be imprifon*d, 
Kept in 3 datke houfe, vifucd by the Pncft, 
And made the tnoft notorious gecle and gull. 
That ere inucnt ion plaid on i' Tell me why > 

Ol. Alas MaMio, this it not my writing. 
Though I confcfTe much like the Chartaiflet : 
Butcutofcjucnion, UiOifarui hand. 
And now I dobcihinkc me, it was (lice 
Pirft told me thou waft mad ;theiic3m'ft in fmiling. 
And in fuch formes, which hcere were ptcfuppos'd 
Vpon thee in the Letter tprcthcebc content, 
This prafticc hath mofl fliiewdly pafi vpon thee : 
But when wc know the ground J, and authors ofit. 
Thou fhaltbeboth the Plaintiffcand thcludge 
Of thineownc caufe. 

Fil>. Good Madam heart me fpeakf. 
And let no quatrell, not no braulc to come. 
Taint the condition of this prefent houre. 
Which I haiie wondrcd at. In hope it fhall not, 
Moft ficcTy I confefTc my fclfe, and Ti^ 
Set this deuiceag3inft/I/<i4<ii/«> hcere, 
Vpon foine flubbome and vncouncooi parts 
We had conceiu'd againfl him. yif^riA vvik 
The Lcrtc r, at fir Totyes great impcrcance. 
In tecompencc whereof, he harh married her: 
How with a fportfull malice it was fullow'd, 
Moy rather plucke on laughter then reucngc. 
If that the iniuries be iuflly weigh'd. 
That haue on both fides paft 

Ol. Alaspoore Foole.how haue they baffel'd thee * 

Clo, Whyfomearebotnegreat,fome atchiruc great- 
Qeffe.and fome hauc g; eatneffe throwne vpon them . I 
was] one fir, in ij)ls Eiuerlude, one fir Tc^at fir, but that's 



- _ ^7% 

all one: BytheLotiIFooIe,Iamnotmad but do you re- 
member. Madam, why laugh you at fuch a barren rafcall, 
andyoufmijenothe'jgagd : and thus the whirlegigge 
of time, brings in his reuenges. 

M.ii- He bcreueog'donthe wholepackeofyou? 

Ol, He hath bene moft notorioufly abus'd. 

Dm, Puifue him, and entrcate him to a peace : 
He hath not told vsoftheCaptaine yet, 
When that is knownc, and golden time conuencs 
A folemne Combination fhall be made 
Of our decre foules. Meanc tunc fwcct fiftcr, 
We will not part from hence. Cf/Tfrio come 
(Forfoyouftiall be while you are ;i man:) 
But when 111 other habitcs you arc fccne, 
OryT/isV Miflris, and his fancies (^cene. Exi»ia 

(^arvrjc fngt 
tyhen that Iwrn and it little tttte ^oy^ 

tvitb hfy,hj^ the nfwJe u^tdthc ruttte ! 
ji foohpj tbiitg xv.tt Onta toy^ 
for the raine it rjmeilj eitery dayt 

BhI when feme to mail eftate, 

Vilhheyho,(^C. 
Cainfl Ki:,iiiei .mdTheeiieimeiiJhul tbcirgatt, 
for the r.une^^c, 

3ur tvliett UnKciljt to miif, 

B>;ibhej lio,(^c. 
"Bjfie.tggrringcoHldlmiierthTuie, 

for tie rainej:^e^ 

"But nhen I came vntomj beii, 

vttlj hey bo r^c 
K'libtolpittet IJinhiiiriinkinhadii, 

forthe rmiie,iyc, 

j4grc.it while ago the aorldtegon, 

hey ho, ^c, 
But that's attorn, oitr Pity ii done, 

(l»d acc'lflriHC to f leafi jou entry day. 




398 



SOME ACEOSTIC SIGNATUEES 



Signature 152. 

This acrostic is found on the first page of The Winters Tale. 
Note the capital P which is at the upper corner of the ornamental 
F 



initial 



Note also that the initial of the last word of the first Scene is the 
initial O of the word ' one.' 

_ IF 
Begin to read from the capital F of the initial monogram 



to the right; downwards; on the initials of the words of the text; 
spelling Francisco Bacono, you will arrive at the initial O of the 
last word (' one ') of the Scene. 



The acrostic figure here is: — 

F 
R 
A 

N 
C 



S 



c 



o 

B 
A 
C 



o 

N 
One 



277 




The Winters Tale. 



aJUus Trimiis. Scccna Trima. 



tnlcr CiirtiSo md jircliidamm 
IJJF you fViill cliancc(C/irM/ffo)to vifii ^oifCTM.on 




kc occafion whereon my ff ruiccs ate now 
on-foot, you fball fec^as I hauc faid)grc3t dif- 
ference becwiitc our Bohcmitt^i^i your Sicili*. 

Cam, Ithinke, thij commiiig Summer, the King of 
Sici/m mesne* CO pay XihtmU the Vifitiiion, which hee 
luftly owes him. 

ylrch. Wherein our Entertainment fhall (}iamcvs:we 
will be luOihcd in our Louei : foi indeed— 

C"". 'Bcfeech you-— 

>^rf/).Vcrcly I fpeake it in the fteedome of my know- 
ledge : we cannot with fuch magnificence — in fo tare— 
I know not what to Gy— Wee will giue you (Iccpic 
Drinkes, that your Sencf 5 (vn-iniclligcnt of our infiifli- 
cience) may, though they cannot piayfeTs,a3 hcilcac- 
cufe vs. 

dm. You pay a great dealc to deaie, for what's giuen 
freely. 

ytrch. 'Bcleeueme, Ifpeakeasmy vndeinanding in- 
fttuds me, and as mine honeflie puts it to vttetancc. 

CiOT. Stcflui cannot fliew himfdfc ouer-kiiid xo'Bchs- 
mu -They were trayn'd together in their Child-hoods; 
and there rooted beiwixc them then fuch an aiTei5lion, 
whidi cannot chui'cbut braunchnow. Since their more 
mature Dignitics.and Roy:ill Neceiricies.madcfeperati- 
on of their Societie, their Encounter s(t hough not Per fo- 
nall) hath been Royally attotnyed with enter-change of 
Gifts, LettcrB,louiMg EmbalTies.thai ihey haue fecm d to 
be together, though abfcnt-fliookc hands, as ouer a VaO; 
and embrac'd as it were from the ends of qppofci' Winds. 
The Meaucns continue their Loues. 

jlrch. I tlimke there IS not in the World, either Malice 
or Matter, to alter ir. You hiue an vnfpeakable comfort 
of your young I'tmce A/jmiUim. it is a Gentleman of the 
greateft Proiiiife.that euer came into my Note. 

C.iw. 1 very well agree with you. in the hopes of him: 
it 18 a gallant Child j one, that (indeed iPhyfuki the Sub. 
icQ. makes old hearts frcrti they that went on Crutches 
ere he was borne, dcfite yet their life.to fee him j Man. 
y^rch Would tlieyellebecontcnt todie? 
C4ra Ye!;if there were no other e»cufe,why they flioujd 
dcftretohue. 

.4'-cl>. If the King had no Sonne, they would defire to 
liueon Crutches rili he had one. Exeunt 



Scccna Secunda. 

Erjcr Ceoitfs^Hfrwiane^Ttiuj/ifJluUfPoUxenejfCamitl?, 
Ptl. Nine Changes of the Watry-Stacteh«hbcen. 



The Shepheards NotcHnce we haue left our Throne 
Without a Burthen : Time as long againe 
Would be fiirjvp(niyBrothcr)v/ith our Thanks 
And yet we nioultj.forperpetuitie, 

Goc hence in debt: And thciefote.likeaCyphec 
(Yet (landing in rich place) I multiply 
W ith one we ihankeyou.many thoulaljds moe. 
That goe before It. 

Leo. Stay your Thanks a while. 
And pay ihcm when you part, 

Pol. Sir, that's tomorrow: 
1 am queftion d by my fearcs.ofwhat may chance. 
Or breed vpon oiu abfcncc,that may blow 
No fncaping Winds ai home, to make v j fay. 

This II put forth too truly :beridcs,l haue flay 'J 
To tyte your Royaltie, 

Lto. We are tougher (Etoihcr) 
Then you can put vs to't. 

Tol. No longer flay, 

Leo. One Seue'nighi longer. 

Tol. Very footh, to morrow, 

Leo, Wee'le part the time bet wecne s then:and in that 
lie no gfline-faying. 

Pol. Preflemenot ('bcfeech you) fo: 
There is no Tongue that moucsinone.none i'th" World 
So foonc as yours, could win me; fo it fiiould now, 
Were there necelTitie in your requcft,alihou£h 
Tweie needfull I deny'd it. My Affaires 
Doe eucii drag me home-ward ; which to hinder,, 
Were (in your Loue)a Whip tome; my flay, 
To you a Charge,aiid Trouble : to faiic both. 
Farewell (our Brother.) 

Lfi. Tongue-ty'dourQuecnc? fpcaVcyou. 

Her I had thought (Sir)to haue held my peace.vntill 
■Vou had drawne Oaihes ftom him,not to ftay: you(Sir) 
Charge him too coldly. Tell him,you arc fure 
All in'Sdfemm jwcllj this fansfa^ion, 
The by.gone.day prodaymd, fay ihit to him^ 
He's beat from his beft ward, 

Leo. Well (i\i, Hermione. 

Her. Totell,helongstofeehisSonne,wereRrong{ 
But let him fay fo thcn,antllet him goe; 
But let him fwcare fo.and he (liall not ftajr, 
Wee'ltliwack him hence VfiihDiflaffej. 
Yet of your Royall prefence,lle aducnture 
The borrow of a Weeke. When at "Bvbmia 
You take my Lord, He giqe him my Comroiliion, 
To let him there a Moneth.behind theGeft 
Prefis'dfors parting: yet (goad.deed)i<e»f«/, [ 

I loue thee not a lattc o'th' Clock,bchmd 

A a Whit 



400 SOME ACROSTIC SIGNATURES OF 

Signature 153. 

These acrostics are found in The life and death of King John, on 

the first two jjages of the play. (See pp. 402-403.) 

Note that the ornamental monogram at the beginning of the play 

lO. 

This looks as if it may be the tail end of an acrostic. 



IS 



N 



By turning the page we find what may be the fore end of the 
acrostic in the initials of the first words of the last two lines of 

the second page of the play. They are ^ of the words j. 

Begin to read from the initial B of the word ' But'; upwards; on 
the initials of the first words of all lines of the text; spelling Bacon, 
you will arrive at the initial N of the word ' Nay,' which is the initial 
of the first word of the first line of the column. 

Here we have the name keyed from the first initial of the last line 
in the column to the first initial of the first line of the same column. 

The acrostic figure here is : — 

Nay I would have you go, etc. 

O 

C 

A 

But who comes, etc. 



FRA:^^CIS BACOI!^ 



401 



Signature 154. 

E'ow begin to read from the initial F of the word ' For'; to the 
left; downwards; up the next column and down the next, and so on; 
on the capitals as they fall throughout the text; spelling Fkancis 



Bacon, you will arrive at the large 



N 



with which the play 



begins, and from which we began by assuming it to be the tail end 
of a signature. 



The acrostic figure here is : — 



N 



O 



c 



^s. 



^c 



K 



'R 



For it shall strew the footsteps of my rising: 



But who comes, etc. 




AUusTrimus t Scana Trima. 




inttrKii'i Ml, Quiime Elinor, Pimhrckt, tjf'x, and $*• 
tuturj, fithlht Chitijtin tffrmct- 

Ow fay Cft4r<7?/<ji», what would Fr«« with V J ? 
Chtt. Thu«(afiei gretnng)fpeake»tbelCii)g 
ofFrance, 
In my bchuiiour to ihe MucRy , 
The borrowed Maicfly oflngUndhtat. 

Elta. Aflrangebcginning : borrowed Maicftyf 

K /«A7i,Silciice fgoodinother)heirecheEmb3(fie, 

Chat, Fhilip o( France, in right and true behalfe 
Of thy dcceafcd brother, Ciffriyci fonnc , 
jirihur PUniaginci, laies moft lawfull claioie 
To this fane lland.and tbe Territotiei : 
To (relAnd, rtjlturiyjimtwi, Ti>ra;iK,MjBie, 
Definng thee lo by »(idc the fwotd 
Which fwaics vfurpingly ihefe feuerall titles, 
And put the fame into yong Anhuri hand , 
Thy Nephew, and right toyallSoueraigne. 

K. /ohk. What follower ifwe difillow of thu } 

Chat. The proud controle of fierce and bloudy vvirre, 
Toinforcethcferighi(,fo forcibly with-held, 

K.h. Heere haue we war for vrar,& bloud for bloud, 
Controlemeinforconttolement: fo anfwer f r j«». 

ChAt, Then take my King! defiance from my mouth, 
The farthtft hmit of my Embaffie. 

K. fohn. Beate mine to him, and fo depart io peace, 
Be thou as lightning in the eie« of Frmct ; 
For ere thou canft report, I will be there . 
The thunder of my Cinnoo ftiall be heard. 
So hence :be thou the trumpet of our wrath , 
And fullcn prefage of your owne decay : 
An hondurable condu^ let him haue, 
Ptmtrokc looke too'c ; fafcwell Chamllm. 

Exit Chut andftm. 

Ett. Whatnowmyfontie,hatielnoteucr faid 
How that ambitious Con/? jnc* would not ccalc 
Till n^e had kindled Fr««srd all the world, 
Vpon the right and party of her fonne. 
This might haue beene preucnted,8nd made whole 
With very eafic argumentt of louci 
Which now the mannage of two liingdomcf muA 
With fesrefiil! bloudy iffue arbitrate. 

K.Iohn, OufftrongpoffeffiOD, and our right fotvt. 
£/!. Your ftrong poflTefiio much more then your right. 
Or clfc It mufl go wrong with you and me , 
So fnu'h fny confcicnce whifpers Id your earc, 



VVhich none but heauen, and you, anil I, fliallheate. 
Snter a Shtri^e, 

Effex. My Liege, here isiheftrangcftcontioUeifie 
Come from the Country to be iudg'd by you 
Thateie I heard . ftiall 1 produce ine men .> 

K./jbn. Let them approach: 
Our Abbics and oui Priories (hall pay 
This expeditious charge' what men are you? 
Enter Robert FMlkonhriJge^ndThiiip, 

Phi/if Your fauhfull fubicfl.I a gentleman. 
Borne in Nirrth4mfi"P'ire, and elded fbnoe 
As I fuppofe, to Rolitrt faHlcnhiJge , 
ASouldierbythe Honot-giuing-haad 
Of ^""■<''//«', Knighted in thefield. 

K.lthn. What arr thou? 

Rtliert., The fon and heire to thjtfacnc TaHtconiritlie. 

K-leha. Is that the elder ,and art thou the bcyrc ) 
You came not of one mother then it fccmes. 

Philif. Moft certain of oncmother.mightyKine, 
That IS well knowne.and as I thinkc one fathet: 
But foi the cerraine knowledge of that truth, 
I put you o're to heauen, and to my mother; 
Of that Idoubt.asallmens children may. 

Eti. Out on thee rude man, y doft fhame tliy moihcf, 
And wound her honor with this diffidence. 

Phil. I Madame ?No,I hauenoreafon fotit. 
That is my brothers plea, and none of mine. 
The which if he can proue, a pops me out, 
At leaf! from faire fiue hundred pound a yeere : 
Heauen guard my mothers honor, »n<S my Land. 

K.Iohn. A good blunt fellowiwhy being yong«bofn 
Doth he lay daimc to thine inheritance ? 

Thil 1 know not why,e>ceplto get thclandi 
But once he (landcrd me with baRat dy : 
But where I be as true begot or no. 
That flill 1 lay vpon my mothers head. 
But that I am as well begot my Liege 
(Fairc fall the hones that tooke the piines for ire) 
Compa.re pur faces, and be ludge your fclfe 
If old Sir i^iJ^crr did beget vs both. 
And were out father, and this fonoc like huDi 
Oo\'i(M%sbtri Father, on my lioee 
I giue heauen chankcs I wm not like to thee. 
K.fthM.Why what a nud-cap hath heauen leitt VI beic? 

EJen, He hatha itickcofCoz-t^/Aiii; face. 
The accent of his toiifjue affeSethhim: 
Doe you tKJt read fome token: of my fonne 
In the 1a; ge compofitior of this man ? 

a l:.hli 



K.lchtt, Mine eye hath well eianiined hi» parts. 
And findes them perfeft Richard : firra fpcake, 
What doih mouc you to cUime youi brothers bnd. 

P/nlip. Becaufc he hath a half-face Ijke my father t 
With hjife that face would he hauc all my land , 
A halfe-fic'd groat, fiue hundred pound ayeete?, 

Ro^. My gracious Licge.when that my father liu'd. 
Yout brother did imploy my father much. 

Phil. Well nr,by this you cannot get my land. 
Your talc muft be how he employ 'd my mother. 

Rib Andoncfdifpatch'dhimin anEmbaditf 
To GerwflJir, there with the Emperor 
To treat of high affaires touching that time : 
Thaduantage of hit abfencetooke the King, 
And in the meane time foiourn'd at my fathers ; 
Where how he did pteuaile,! fliame to fpeake: 
But tiuth it truth .large lengths of feas and (hotel 
Betweenemy father, and my mother lay. 
As I haue heard my father (peake him(elfe 
When this fame lurty gentleman was got : 
Vpon his deathbed he by will bequeath'd 
Hislandscome, andtookeit on his death 
That this my mothers fonne was none of his{ 
And ifhc were, he came into the world 
Full foutteene weekes before the courfe of time : 
Then good my Liedge let me haue what is niine, 
Myfathenland, as was my fathers will. 

KJohn. Sitra,your brother is Legiitimate, 
Your fathers wife did after wedlockc bene him: 
And if rtie did play falfe, the fault was her* , 
Which fault lyes on the hazards of all husbands 
That many wiues : tell me, how if mybrother 
Who at you fay, tooke painej.to get this fonnc , 
Had of your father claim'd this fonne for his , 
Infooth.good friend, your father might haue kept. 
This Calfe, bred from hit Cow from all the world ; 
Infooth he might: then if he were my brothers, 
My brother might not daime him, nor your father, 
Being none of his,rcfurehim : this concludes. 
My mothers fonne did get your fathers heyre. 
Your faihershcyemufl haue your fathers land. 

Rob. Shal then my fathers Will be of no force, 
To difpoffeffe ihat childe which it not his. 

Phi. Of no more force to difpolTefTe me fir , 
Then was hit will to get me, as I think. 

Eli. Whether hadft thou rather be a FwhcnhiJgf , 
And like thy brother to entoy thy land : 
Ot the reputed fonne of Cor,y<//c/f, 
Loid of thy prefente.and no land befide. 

Soft. Madam, and ifmybrotherhadmy (liape 
And I had bis, (\i Raierti\\\i like him , 
And if my legs were two fuch riding rods, 
Myarmes.fuch eelc skins Ouft. my lace fothio , 
That in mine eare I dutfl notflickea rofe , 
Left men (Viould fay.looke where three fatihings goes , 
And to his (liape were heyre to all this land. 
Would I might neucrdirre from off this place, 
1 would glue it euery foot to haue this face : 
it would not be fir nobbe in any cafe. 

Elinor. I like ihte well:wilt ihou fotfake thy fortune, 
Bequeath thy land to him,and follow me? 
lama Souldier,and now bound to Fr^jure. 

BaJ}. Brother.iakcyoumylaud.Iletakemychancej 
Your face hath got fiue hundied pound a yc ere. 
Yet fell your face for fiue pence and 'tit decre: 
tvUdamjIle follow you vnto the death. 



Hie life and death of K^gfohn. 



SlinoT. Nay, I would haue you go before me thiihtt, 

3*/?. Our Country manners giue our betceri way, 

K-Iohn, What is thy name? 

Bafl-. Phi/if my Liege,fo is my name begun , 
fWp.good old Sir ^o^er/r wiues eldeft fonne. 

K.lohn, From henceforth beate his name 
Whofc forme thou beareft : 
KneelethoudowneMi/i;', but rife moregccM, 
Arifc Sir Richard^ and Plivitagentt. 

Bafi. Brother by th'mothert fide,giuc me yout hand , 
My father gaue mc honor, yours gaue land ; 
Now blclTed be the houre by night ot day 
When I was got,Sit Roirre was away. 

Ell. The very fpirit of Phniaginrt : 
I am thy grandame FJcLird, call me fo. 

Bufl. Madam by chance, but not by truth.what thoj 
Something about a little from the right , 
In at the w indow, or elfe ore the hatch : 
Who dares not (lirre by day.murt walke by night. 
And haue is haue, how eucr men doe catch; 
Neere ot farre ofT.well wonne is ftill well (hot, 
And 1 am I,how ere I was begot, 

K./ohn. CceyFA»kon6ridgt,T\ovi hall thou thy defirC 
AlandleffeKnight.makestheea landed Squires 
Come Madam, and come Richiird,vie mufl fpeed 
For FrAice, (otFrtMce,(ot it is more then need. 

'Ba/1. Brothet adieu, good fortune come to thee. 
For thou waft got ith way of honcfty. 

ExtHift nil tut inJftrJ., 

Bjjt. Afoot ofHonorbettcrthenI was. 
But many a many foot of Land rheworfe, 
VVell,now can 1 makeany lotnta Lady, 
Good den Sit AicWJ.Godamercy fellow. 
And if his name be <jtorge. He call him Piier-, 
For new made honor doth forget mens names : 
Tistworefpe£>iue,andtoo fociable 
For your conuetfion, now your traueller, 
Hee and hit tooth-pick e at my worlhips melTc, 
And when my knightly ftomaclie is fuffii'd , 
Why then I (ucke my teeth, and catechize 
My picked man of Countiies : mi deare fir, 
Thus leaning on mine elbow 1 begin , 
I (hall befeech you ; that is queflion now, 
And then comes anfwer like an Abfcy booke : 
O fir, faycs anfwer, at yout bed command , 
At youremploymenijai your feruicefir 
No (it, faiet queflion, \ fweetdtatyours, 
And fo ere anfwer ktjowes what queflion would, 
Sauing in Dialogue of Complemenr, 
And talking of the Alpes and Appenines , 
The Perennean and the rmer Poe , 
It diawes lowatdfuppetincondufion fo. 
But this it wotDiipfullfociety, 
And fits the mounting fpirit like my felfe ; 
For heisbutabaflard tothetime 
That doih not fmoale of obferuation. 
And fo ami whether I fmacke otno; 
And not alone in habii and deuice. 
Exterior forme, outward accoutrement ; 
But from the inward motion to dcliuer 
S weet, fweet, fweet poyfon for the ages tooth. 
Which though I vi,ill not prafliec to deceiuc, 
Yet to auoid deceit I meane to leatne; 
For It (lull ftrew the footrtept of my ri(ing : 
But who comes in fuchhafte in tiding lobci^ 

What 



404 SOME ACROSTIC SIGNATURES 

Signature 155. 

This acrostic is found in the first page of The life and death of 
King Richard the Second. 

which begins the play; 



Begin to read from the large initial 



o 



to the right; on the capitals of the text; spelling backwards Onocab, 
you will arrive at the initial capital B of the word ' By ' (twenty- 
seventh line, second column). 

Now begin to read from the initial N of the word ' Nobles,' which 
is the last word in the text on the page ; to the left ; upwards ; on the 
capitals of the words of the text; spelling backwards Nocab, you 
will arrive at the same initial B of the same word ' By ' (twenty- 
seventh line, second column). 

This last name is keyed by reading it downwards from the initial 
of the word 'By'; to the right; downwards; on the capitals; speUing 
Bacon, you will arrive at the capital N of the word ' Nobles.' 

The acrostic figure here is: — 



o 



N 
O 

c 

A 

By 
A 

C 
O 

Nobles. 

It is to be noted here that the word ' Nobles ' is not capitalised in 
the Quarto of 1597. 



The life and death of King Richard 

the Second. 



Jih<s7nmus, Scana 'Prima. 




Emrr K't^ I!"'/' ^'d, lohn afCaHnt, wit hcthtr NokUi 
And, At'cnitnii, 

Ki'g Richiri. 

Ld Itlx of Cjiuint^ time-honoured Lanciftcr, 
Hid [hou according to thy oaih and band 
Brought hither Hmrj Herford thy bold Ion : 
Hecre to make good ^boiOrous late appcale, 
VVhicIi i!icn our leyfure would not let f s hcarc, 
Agiind the Duke of Norfoike, Tbtmti Mtwhray } 
Cmm. I haue my Liege. 
JCi»5. Tell me moieouer,ha(l thou founded liim, 
If he appealc the Duke on ancient malice. 
Or wcrihily as a good fubicft (hould 
On fome kiiowne ground of treacherie ia hmi. 

Ctum Asnecieas I could fift him on that argutrient. 
On fome apparant d.inget fccnc in him, 
Avm'd at your Highncfle, no inucterate malice. 

Kii. Then call them to our prefence face to face. 
And frowning brow to brow, our fcluei willhearc 
Th'accufcr, and theaccufcd, freely fpeake; 
High ftomack d ate they both, and full of ire. 
In rage, deafe as the fea; hallic as fire. 

Enter 'BHlhn^hroaks ^fd Mowhrtn. 

"int. Many yeirejofhappydayes befall 
My gracious Soueraignc, my molHouing Liegc. 

Tyjjw. Each d.iy ((ill better others happineftc, 
Vntill the heauens enuying earths good hap, 
Adde an immortall title to your Crowne. 

Kin^. We thinkc you both, yet one but flatters vs, 
As well appeareth by the cjufe jrou come, 
Namely, to appeile each other of high treafon. 
Coo (in of Hereford, wh« dofl thou obieft 
Againft the Duke of Norfoike, 77m BMr /t/owir^ J 

But. Firrt, heauen be the record to my fpe«h. 
In the deuoiion of a fubieiSi loue. 
Tendering the precious fafetie of my Prince,* 
And free from other misbegotten hate. 
Come I appealant to this Prmcely prefetice.- 
Now TitmM Tilswtrtj do I rurne to thee. 
And marke my greeting well : for what I fpeake, 
Mybody fhaJI make good vpon this eanh, 
Ot my diuioe foule anfvjer it in he*uen. 
Tho«irttTtaitOf, indiMifcreant; 
Too good to be fo, end too bad to liar. 
Since theinort fairc and chrif^all is the skir, 



The vglicr fcemc tliccloudes that in it flye ■ 
Once more, the more to aggrauate the note 
With atoiile Trjuorj name iiuife t thy ihrore 
And wiOi (fo pleale my Soueraigne) ere I nioue 
What my rong fpeaks.my right drawn fword may ptoue 
Motr. Let not my cold words lieerc accuft my rcale; 
Til not the iriall ofa VVomans warre. 
The bitter flamourofrvvo eager tongues. 
Can arbitrate this caufe betwixr »jtwaine; 
1 he blood IS hot ihatmuH be cool'd for this. 
Vet can Inot of fucli tame patience boaO, 
As to be hufbt, and nought at all to fay. 
Fitflihe faitereuerencenfyoutHighnclTecurbesmee, 
From giuing reines and fpurrei to my free fpcech, 
Which elfe would pofl, vntill It hadretum'd 
Tntl'c tearmes of tteafon, doubly dowiie hu throat. 
Setting afidc his liigh bloods royalty. 
And let him be no Kinfm.in to my'Liegc, 
Idodc(icliim,3nd I fpitathini, 
Call him a llaiideroui Cowird, and a Villaine : 
Which to maintaine, 1 would all^w him oJdes, 
And mccte him, were I tide to runiic afoote, 
Eucii to the frozen ridges of the Alpes, 
Or any other gtoimd inhabitable, 
NMicrceuei Kiiglifhman diird fethiifoste, 
Mc.ine lime, let ihis defend my loyaltie. 
By all my nopes moft falfely doth lie lie. 

^«/.Pale trembling Coward, there I throw my gigf, 
Difclaiming heere the kindred ofa King, 
And lay afide my high bloods Royalty, 
Which feate, not reiierence makes thee toejtcept. 
If guilty dread hath left thee fo much (Irength, 
As to t jke vp mine Honors pawne, thers Ooope. 
By that, mi ail the rites of Knight-hood elfe, 
Wi II I make pood agamft thee arme to atme. 
What I haue fpoken, or thou canfideuife. 

Mcv. I r jke it vp, and by that fword I fvreare, 
Which gently laid my Knight-hood on my Ihoulder, 
He anfwer thee in any faire degree, 
OrChiualrous defigne of knightly iria/1: 
And when I mount, aliuemay I not light, 
If I be Traitor, or vniuHly fight, 

Kin)r. What doth our Cofin lay to Mntriuti charge i 
It mull be great that c«n inherite vs. 
So much >i ofa thought ot lUinhim. 

3W.Lookewhatl faid,my life Diall prone it true, 
That Miwhitj hath teceiu d tight thouiandNobles, 

In 



406 SOME ACEOSTIC SIGN^ATURES OF 

Signature 156. 

This acrostic is found in the first two pages of The First Part of 
Henry the Fourth, in which the paging jumps from 46 to 49. (See 
pp. 408-409.) 

This is a weak acrostic, but it is remarkable, as it is the onlj' in- 
stance in whicli I have found an o/je//, barefaced acrostic of Bacon's 
name. 

Bacon's name was sometimes latinised into Baco, sometimes into 
Baconus. In this case the former is used. "VVe shall find it by read- 
ing from the cajiital O at the upper right-hand of the big initial 




downwards; on the capital of the first word in each line in the first 
column, up on the capitals of the next cohmm, and down on the 
capitals of the third column (treating the fi-ont initials of the col- 
umns as if they were on a string); spelling backwards Onocab, you 
will arrive at the initial B of the word ' But,' beginning the fourth 
line from the end of the Scene : — 

' But come your selfe with speed to vs againe.' 

Now note the initials of the first words of the five lines at which 
we have arrived by spelling Oxocab from the first O. They are : — 

Our 

Cosin 

At 

But come 

For 

Read these initials upwards, they give us F Baco; the latinised 
form sometimes used for Bacon's name. 



FRANCIS BACON 407 



The acrostic figure here is : — 



8 



O ^ Our holy purpose, etc. 

F ^ O Cosin 

A C A At 

T But come 

For 



Note that the Latin name forms the end or ' butt ' of the acrostic, 
whereas if it were a strong instead of a weak acrostic the butt would 
be the initial of the first word of the last Ime of the Scene. 



46_ 




The Firft Part of Henry the Fourth, 

with the Life and Death of H E N R. Y 

Sirnamed HOT^SPVRRE. 
(lAiius ^Primus. Scwna Trima. 




tf)t'cj}mcrlMi},rith ether i. 

Kpv. 
.^O DiiVm at we arc, fo wan with cite, 
SFind«we»ii(iitfor fnghtcd Peace lopjni, 
And breath rtiotcwmded accent] of new btoilt 
To be comincnc d in Stionds a-firre remote : 
No more the thitfty entrance of this Soilc, 
Shall daubc hit lippcs with her ovvne chiljrcnsbiood ; 
No more fhill tienchmg Wane chanoell her fields, 
NotbrJifehetplowiets with the Armed hoofes 
Of hollile paces. TliofcoppofcJfycs, 
Which like the Meteors of a troubled Hcauen, 
All of one Nature, of one Subfttntc bied. 
Did li;ely meeie in the inteftint (hocke. 
And furious cloie of ciu.ll Biiicbery, 
Shall now in mutuiU wcll-bcfeetnipg rankes 
March all ont way, and be no more of pos'd 
Acainft Acquaintance, Kindtcd.and Allies. 
The edge of W»tre,liVe an ill-fheathed knife. 
No more Oiall cut his MaRer, Therefore Friends, 
As fane as to the Srpukhet of Chrift. 
Whofe Souldlc: now vnder whift blclTedCroffii 
We ateimprcfled and ir-.ga^'d to fight. 
Forthwith a powet of Englifti fnall we leuie, 
Whofe armes were moulded in their Mothett wombf, 
To chace chefe Pagans in ihofe holy Fields, 
Ouer whofe Acres walk'd thofe bleffcd feete 
Which fourteene hundred yeates ago were nail'd 
For out aduaotage on the bitter Ctofle. 
But this out purpofe IS J twelucmor.th old, 
Andbootleffe'iistotellyouwewillgo: 
Thetefore we meeie not now. Then let mebtare 
Of you my gentle Coufin Weflmerland, 
What yedernight out Councell did dectce, 
Infotwarding this deere expedience. 

uvy? My Liege: This hifie was hot in queflion. 
And many limits of the Charge (er downe 
But yeflCToighi . when all athwart there came 
A Port from Wales, loaden with heauy Newe« ; 
Whofe worn v»js. That the NobletJM£rfm«r, 
Leading the men of Herefordfhire to fight 
Againft the itregubt and Wilde C/f»''»ffT, 
I Was by the lude hinds of that Welftiman lakeo, 
I And A thoufand of his people butchered : 



Vpon whofe dead ccrpet there was fuch mifufr. 
Such beaftly,(Viamelcirs trans formation. 
By thofe WelOiw omen done, as may not be 
(Without much fliimc) re-told or fpoken of. 

Ki'i It fcemes then, that the tidings of this bto'.lc, 
B'-akc off our bulinelTc for the Holy land. 

Hi,-! This maicht with other like.mygracioui LotdL 
Faite more vneuen and vnwelcome Newci 
Came from the Notth, and thus it;!id report I 
On Holy-toode diy.the gallant //.v,Jar»« there, 
Ycjung HcTj Frrcj.ini braue t^nhtM, 
That cuer.vjliini and approoued Scot, 
At Hiiix'Jc met, where they did fpend 
A fad and bloody houre; 
Asby difcharge of their Artillerie, 
And fhape of likely-hood the newes was tolds 
For he that brought them, in the very heate 
And pride of their contention, did takehorfe, 
Vncertaineofiheiflueany way. 

ATiwg. Heereisadcereand true induf^nocs frieod. 
Sir *>'A'r£r^/«Br, new lighted from his Horfe, 
Strain'd with the variation of each foyle, 
Beiwiat that HdnrJtn ^ini this Scat of ours : 
And hehaih brought vs fmooih and welcomes ocwcs. 
The Earlc o(T>i"'gl'i is difcomfited. 
Ten thoufand bold Scots, two and twenty Knightl 
Balk'd in their owne blood did Sir H'aIict fee 
On//c/.7»f<^»«Plaines. Of Prifoneri,//«r^wT»iookt 
McrdAkt Eatle of Fife, and eldcft foune 
To beaten 2) es-^/u, and the Earlc of .^(ivf, 
0( Murrj .t^ygw^ini Afm'ti'b. 
And is not thisan honourable fpoyle? 
A gallant ptiae? HaCofin.is itnot?Ir.faith itU, 

tfrj}. AConquertforaPrince loboaftcf. 

Kill- Yea, thete thou maVft me fjd,& niak'fl me fin. 
In enuy, that my Lord Northumberland 
Should be the Father of fo blert a Sonne : 
.'\Sonnc,who is the Theime of Honors tongue j 
Among'ft a Groue, the very flraighteft Plant, 
Who IS fweet FattusesMinion.and her Pride : 
Whirl) I by looking on thepralfeofhim. 
See Ryot and Difhonot (laine rhe brow 
Of my yong ffjrrf O that it could be prou'd. 
That fome Night-tripping-Faiery , had eichang d 
In Cradle-clothes, our Children where they lay. 
And cjll'd mine Prrty, his f .'M/.ijM/r .• 



The Firjl Tart of K^ng Henry the Fourth. 



A9 __ 



Then would I hsue hil Htrrj.ini he mine 

Bmlet him from my thoughti- Whjt (hmke you Coze 

Of this young Petciei pride ? The I'nfoners 

Which he mihitadueriiure hath furprir.'d, 

To hit owne vfe he kccpet, and fends me word 

iniallhaue none tut A{ardi,k£^"lc oiFife, 

Vejl. Thisishis Vncklcsteaching.This is Wofceflcr 
Mileuolent to you in all A fpefli : 
Which makes bim prune hnTifcIfe. and briOIc vp 
The cteR of Youth agamftyout Dignity. 

t^'ig. Butl hauefentforhim toaiilwerthis: 
And for this caufe i-while we muft negleft 
Out ho/y purpofe to lerufalein. 
Cofin, on Wcdnefday nest, our Cooncell we mill hold 
At Windfor, and foinforme the Lords : 
But come your felfe with fpeed to »s againCt 
For more II to be faid, and to be done. 
Then out of anger can bevtteted. 

Iftfl. I willmy Liege. Exeunt 



Scxna Secmida, 



Enter Henry Frmee cflTtUs^Sir htin fti- 
fiffe, ardPniBtt,, 

Fut, Now Jii/, what time ofday Is it I.3H > 

Prince. Thouartfo fat-witted withdiinkingofoMe 
Sacke, and tnbuttoning thee after Supper, an J Peeping 
Tpoii Benches in the afiernoone, thai thou haft forgotten 
to deminj that truely, which thou wouldcfl tiuJy know. 
What a diuell haft thou to do with the time of the day ? 
vnle(Te houres were cups of Sacke, and mtnutec Capons, 
andclockcsthc tongues ofSawdej, anddiallsihe fignes 
of Le3ping-houfes,andihcble(reHSunnehimfclfe afaire 
hot WenchinFlanne-coloutedTafFata; I feenoreafon, 
why thou Hioulden bet fo fupcifluous, to demaund ihe 
time of the day. 

FaI. Ind-.edycucomeneeremenowH^/, forwethit 
take Purfcf.goby ihe MooneandfcucnStarres, and not 
by Phoebiii hce. that WAnd'tmg Knight fofaire. And I 
prytheelvveet Wacge. when thou art King, as God fauc 
thy Grace, Maieliy I ftiould fay, for Grace thou wilte 
hauenone. 

Prw What, none? 

Fdl, No, not fo much as will ferue to be Prologue to 
ilLEgpe and Butter. 

Prm. Well.how then? Come roundly, roundly. 

Fat. Marty ihen,fweetWagge, when thou art King, 
let not vs that are Squires of the Nights bodie, bee call'd 
Theeuesof theDjyesbeautie. Letvt beD/J»<r/Forrc- 
flers. Gentlemen of the Shade, M inioni of the M"nne ; 
and let men fay, we be men of goodGouernment, being 
gouerned as the Sea is, by our noble and chaft miftiis the 
Moone, vndcr whofe countenance we ftcale. 

Prin. Thoufay'ft well, and It holds well too : for the 
fortune of vs that are ihe Moonesmcn, docthebbeand 
flow like the Sea, becing gouetnedastheSeais, by the 
Moone: asforproofe. NowaPurfeof Gold moftrefo. 
lutely fnaich'don Mondaynight, and moft diSblutcljF 
fpent on Tuefday Morning ; got with fwearing,Lay by : 
and fpcnt with crying. Bring in :now, in as low aneboe 
as the foot of the Ladder, and by and by in as high a flow 
'as the ridge of the Gallotvet. 



Fa/. Thoufay'rt true Lad: andisnotmy Hoflefle of 
the Taoerne a moft fweet Wench ? 

Prix. As IS the hony, my old Lad of the CaOleriijdis 
not aDuffe lerkin a moftfweeicobeof durance? 

Fat. How now? how nowmad Wagge ? What in thy 
quips and thy quiddities? Whit $plaguehaueliodoe 
with aBuffe-Ierkin? 

Prin. Why,v/h3tapoxehaueItodoewiihmyHo- 
(lefreoftheTaueme? 

Fit!. VVell.thouhaftcall'd herto a reck'nlog iDany a 
time and oft. 

Priit. Did I euer call for thee to pay thypart ? 

Fit. No, He giue thee thy due,thou haft paid al there. 

Prin, Ycaandelfewhere, fo farre asmyCoine would 
nieich, and where it would not, I haue vs'd my credit. 

F"»/. Ye3,andfoys'dit, that were it heere appatant, 
that thou art Heire apparant. But I prythee fweet Wag, 
rtiall there beGallowes ftanding in England when thou 
an King ? and refolution thus fobb'd as it is. with the ru- 
flie cuibe of old Fathei Anticke the La>j'? Doe not thou 
when thou art a King.hang aTheefe. 

Pr$t. No, thou (h2h. 

Fat. Shall P O tare! lie be a btaue ludge. 

Prui. Thou indgeftfalfe already. Imeane, thou Oialt 
haue the hanging of the Ibeeues, and fo become a t afc 
Hangman. 

F.il. Well //«/, well laod infome fort it iuinpes with 
my humour, as well ac waiting in tbe Court, I can tell 
you. 

frn. For oUialningoffuites? 

Fni- Yea.for obtaining of fuites, whereof the Hang, 
man hath no leane Wardrobe. I am as Melancholly as a 
Gyb-Cat,or a lugg'd Beate. 

frm. Or an old Lyon, or a Louers Lute. 

Ful, Yea ,or the Drone of a LincolnJhire Bagpipe. 

Prin. Wliat fay fl thou to a Hare, or the Melancholly 
of Moore Ditch? 

F'l. Thou haft the uioft vnfautsury fmiles, anJ art in- 
deed the mofl ccmparatiue tafcalleft,fweet yong Prince. 
But /ii/,l prythee trduble me no mote with vanity,! wold 
thou and 1 knew, wliereaCommodity of good names 
were to be bought : an olde Lord of the Coutwell rated 
me the other day in the ftreet about you fir; butlmark'd 
him not, and yet hee talk'dveiy wifely, butl tegardee) 
him noi,«ndyet he talki wifely, and in the ftreet too. 

Prm, Thou didft well: for no man regards it. 

Fal. O.thou haft damnable Iteration, and art indeed* 
able to corrupt a Saint. Thou haft done muchharme vn- 
to me HallfioA forgiue thee for it. Bcfote I knew thee 
//«/,! knew nothing:and now lam(ifamannioldfpeake 
truly)little better then one of the wicked. I muft giue Q- 
uerthislife,3ndl willgiue itouet : andjdonot, lama 
Villaine. lie bcdanm'd for neuer a Kings fonne in Cbti- 
ftendome. 

Trin. Where (Tiall we take a putfe tomorrow.Iacke? 

Fat. Where thou wilt Lad, lie make one . and I doc 
not, call me Villaine ,and bafflle me. 

frm, I fee a good amendment of life in thee : Trom 
Praying, to Purfe-taking. 

Fat Why.fii/. 'tis my Vocation /JW: 'Tisno fln for a 
man to labour in his Vocation. 

Pomiz.. Now fhall wee know if Gads hill haue fe^a 
Waich. Ojifmcnvveretobefauedby meiit,what hole 
in Hell were hot enough for him? This Isthemoft omni- 
potent Villaine, that euer cryed,Stand,to aitue man. 

frit. Good morrow iVci, 

Ftmis.. 



410 SOME ACROSTIC SIGNATURES 

Signature 157. 

Tliis acrostic is foimd on the first page of The Secmd Part of 
King Henry the Fourth. ■ -, 

Begin to read from the big initial I \ which is the first text initial 

on the page; to the right; on all the roman capitals of the text; 
downwards through the text; spelling backwards Onocab, you will 
arrive at the initial capital B of the word ' Brawne ' (second column, 
twenty-fifth line). 

N^OAV begin to read from the capital N of the word 'Now,' which 
is t\ie first word of the last line on the page; to the right; up- 
wards; on the roman capitals of the text; spelling backwards Nocab, 
you will again arrive at the capital B of the word 'Brawne'; thus 
keying the cipher. 

The acrostic figure here is: — 



o 



^o 



Monmouth's Brawne 



Now Trauers, etc. 



Signature 158. 
Begin again to read from the big 



o 



which is the first text in- 



itial on the page; to the right; on all the cajntals of the text, roman 
and italic; downwards through the text; spelling backwards Onocab, 
you will this time arrive at the italic capital B of the word 'Blunts' 
(second column, twenty-second line). Continue to read from the B 
of 'Blunts' ; speUing Bacon, you will arrive at the capital N of the 
word ' Now ' ; thus having keyed the cipher from and to the same 
points on both roman and italic capitals. 
The acrostic figure here is : — 

0.0 

c 

both the ^ Blunts 

Now Trauers, etc. 



2L 




The Second Part of Henry the Fourth, 

Containing his Death : and the Coronation 

of King Henry the FiTt. 



oMlui Primus. Sccena Trima. 



In^vction. 




Pen your Earcs : Fot whicK of you will flop 
The vent of Hearing.when loud ^Bwjrfpcakes? 
[, from the Orient, to the drooping Weft 
(Making the winde my Poft-liorfc) dill vnfold 
The K&i commenced on this Ball of Earth, 
Vpon my Tongue, continuall Slanders ridei 
The which, in euery Language, I pronounce, 
StuffingtheEaresofthera with falfe Reports: 
I fpeake of Peace, while couctt Enmiiie 
(Vnder the fmile o£Saf£iy)wounds the World : 
And who Ijut Rumour, wlio but onely I 
Makcfejtfull Muftert,and prcpar'd Defence, 
Whil'ft the bigge yeare, fwolne with fome other griefes, 
Is thought with childe, by iheflerne Tyrant, VVatre, 
And nofuch matter? Rjtmour, is a Pipe 
Blowne by Surmifcs, Icloufics, Conic^turet; 
Andoffoeafie, and foplaineaftop. 
That the blunt Monfter, with »ncounted heads. 
The fliUdifcordjntjWaueting Multitude, 
On play vpon it. But whatneedej thui 
My vvell.ltnowne Body to Anathomize 
Among myhoufhold? Why is ^amoKr heere? 
I tun before King Hanit/ viflory. 
Who in a bloodie field by Shtewsburie 
Hath beaten downe yong //oi/ji'wmr.aud his TfOOpeSj 
Qjenching the flame of bold Rebellion, 
Euen with theRcbclt blood. But what meant I 
To fpeaVe fo true at firfi / My Office is 
To noyfe abroad, that Many OMtnmoulh Tell 
Vnder the Wrath of Noble Hm/fmrrti Sword : 
And that the King , before the "Dov^lat Rige 
Stoop'd his Annoinied head, as low at death. 
Thishaue I rumout'd through the peafaat-Towne»i 
Betwtcne the Royall Field of,Shtewsburie, , 
AndtbiiWorme-eaten-HoIcot ragged Stone, 
Where Hotfpurret Father, old NorthumberUnd, 
Lyes crafty ficke. The Poflcs come tyring on. 
And not a min of them brings other TlEWet 
Then they haue lea rn'd of Me. From Rumourt Tongues, 
They bring fmooth-Comfotts-falfe, wotfe then True, 
wrongs. T.xit. 



Scena Secunda. 



Enter Lord '^ariolfi, and the Ponir, 

LXar. Who keepes the Gate hecrehet > 
Whctcis theEarle? 
Par. WhatOialllfayyouare? 
Bar. Tell thou theEarle 
That the Lord Bardolfe doth attend him heeff. 

For. HisLordfhip is walk'd forth into theOlchMil, 
Pleafe ityourHonor, knockcbutat thcGate, 
And he himfelfe will anfwer. 

Enter NeriliKmiertimi, 
LSitr. Heere comes theEarle. 
Ncr. Whatnewcs Lotdfi<r(/j^t?Eu'tymimittnov» 
Should be the Father of fome Stratagem; 
The Times are wilde : Contention (like a Hash 
Full of high Feeding) madly hath broke loofe. 
And beares downe al! before him, 

L.E*r. Noble Earle, 
I bring you certaine ncvves from Shrewsbury. 
A'or. Good, and heauen will. 
L.Bitr. AsgoodasheartcanwidiJ 
The Kin^is almoft wounded to the death » 
And in the Fortune of my Lord your Sonne, 
Prince Hurrie flaine out-right : and both the Blmli. 
Kill'd by the hand oCVmj^Ui. Yong Prince Mir, 
And Weftmerland, and Stafford, fled the Field. 
And Harrie Monmouth' I Btawne(the HulkeSir W») 
Ii prifoncr to your Sonne. O.fuchaDay, 
(So fought, fo fotlow'd, and fo fairely wonne) 
Came not, till now, to dignifie tlic Timej 
Since Ct/ari Fortunes. 

tftr. How is this deriu'd? 
Siw you the Field? Cameyou from Shrewtbun > 

L.Sdr.l fpake with one (my L.)that cairw ftfitheoce, 
A Gentleman well bred.andofgood name. 
That freely rendet'd me thefe newes for true- 
Mr. Heere comes my Seruant 7>4«^.-,whom I fcnt 
OnTuefdaylaft, to liften after Neweij. 
£nttr2z^«ierj, 
t.'Btf. MyLori:,:ouefiodhimoot}ietflj;t 
And he i»furni(h'd with no certainties, 
More then he (haply )may retaile from me. 
^(n-.Novv TruHfrt, what good tidiogi coiDeifTo)reof 

Tr*. 



412 SOME ACEOSTIC SIGNATUKES 

Signature 159. 

Pages 89 and 90 of The Second Part of King Henry the Fourth 
are wrongly numbered 91 and 92. 

On i^age 89 (91), if you read across both columns on the last line 
of the page, beginning on the initial N of the word 'Nor'; on all 
letters of the words ; spelling Nocab, you will arrive at the initial B 
of the name BalUnghrooTce. The signature thus runs from the first 
letter of the first word to the first letter of the last word. 

If you care to capitalize the letters, the figure may be shown 
thus : — 

' NOr do i as an enemie to peaCe hAue since mis-carryed vnder Bullingbrooke ' 
NO C- A B 

Compare this signature with that on the first page of Pericles. 



The fcconclTaYt ofKj p^Jjenry the Fourth . ^ pi_ 



ffatf. Weehaucfcnt forihil/eadie. 

"Fifh. Tnwclldonr. 
My Friendj.ind Brethren (in thcfe great Affaires) 
I niurt acquaint you.that 1 haue recciud 
New-dated Letters ftom NorilmmhiiUyid: 
Their cold imcnt.tenute.and fubftancc thus. 
Here doth hecwifh his Perfon.wich fuchPowcfj 
^s might hold fortance withhuQiuhtie, 
The which hee could not leuie : whereupon 
Hee iJ letyt'd.to lipe his growing Fortunes, 
To Scotland j and concludes in heartie prayers, 
Tliat your Attempts may ouer-liuc the hazard, 
And featefull meeting of tlicir Oppofite. 

Kuw. Thus do the hopes we haue in hiro.touch ground. 
And dafli themrelucs lo pieces. 

Enter 4 Meffin^rr, 

!J<^Jf. Now? what ncwes? 

Mt{f. Weft of thisForicft/carcflyoffa milfj 
In goodly forrne, comes on the Encmie ; 
And by the ground they hide, I iudgc iheii number 
Vpon.or neere.the rate of thitiie thoufand. 

Afm. The lull proportion that we ganechemotlt. 
Let vt fway-on,and face ihem in the field, 

Cuter WeflmtrUnd. 

t5i/J.What well-appointed Leader fronts »s here } 

Jiiow, I thinkeit is my Lord of Wcnmcrland. 

ffvy?. Health,and faire greeting from our General), 
The Prince, Loid /«A«,and Dukeof Lanca/let. 

"Silh. Sayon(my Lotdof Wcflmeiland) in peace: 
What doth concccnc your comming? 

mn. Then (my Lord) 
VntoyourGiacedocIinchiefeaddrene 
Thefubftanceof my Speech. If that Rebellion 
Came like it felfe.in bafe and abiefl Routs, 
Led on by bloodie Youth, guarded with Rage, 
And countenanc'd by Boyes,and Beggerie : 
I fay,if damn'd Commotion foappcare, 
In his true.natiue.and inoft proper (liape. 
You (Reuercnd Father.and thefe Noble Lords) 
Had not beene here.to dielfe the ougly fornae 
of bafe, and bloodie Infurre(ftion, 
With your faire Honors. You.Lord Arch-bi(liop, 
Whofe Sea isbyaCiuiliPcace maintain'd, 
WhofcBcard.theSiluerHand of Peace hath touch'd, 
Whofe Leatning.und good Letiets.Pcacehaih tutor 'd, 
Whofewhite Inueflmepts figuie Innocence, 
The Doue.and very bleffed Spirit of Peace. 
Wherefore doc you fo ill trandaie your fclfe, 
Out of the Speech of Peace, that bcarcs fuch gracf. 
Into the h Jtfh and boyflrou^ Tongue of Warre ? 
Turning y our BookfstoGraues, your Inke to Blood, 
VoOt Pcnnes t» Launces,and your Tongue diuine 
To a lowd Trpmpet,and a Point of Warrc. 

2(/&. Wherefore doc 1 this ?fo the Qjcflionflandt. 
Brlefelytothisend: Weeateall difcasd. 
And with our furfetting,and wanton howres, 
Haue brought our felucs intoaburning Feuer^ 
And wee muft bleede for it : of which Difeafc, 
Out late King Richiird{he\ng infefled) dy'd, 
Buc(my moft Noble Lord of Weftmerland} 
I take oot on tnc here at a Phylician, 
Not doe l,is an Eneniie to Peace, 



Troopc in iheThtongs of Militarie men r 
But rather fhew a while like fearefull Warre, 
To dyer rankeMindes,fickeofh3ppinefrf, 
And purge rh'obfttuiftions, which begin to f}op 
Our very Vcinesof Life : hearememoteplainely. 
I haueincqu.iliballance iuflly weigh'd. 
What wrongs our Anns may Jo.what wrongs we fuffer, 
And finde our Giicfcs hcauier then our Offences. 
Wee fee which way the ftieaineof Time doih ruiinr. 
And are;enforcd from our mod quiet there. 
By the roughTorrcniof Occafion, 
And haue the fummanc of all our Ctiefes 
( When time fhall fcrue) to fliew in Articles | 
Which long eie this, wee offcr'd to the King, 
And might, by no Suii,gayne out Audience ; 
When wee ate wrong'd,and would viifold out GriefcS, 
Wee ate deny'd accelfc vnto his Perfoii, 
Euen by ihofc men, that mofl haue done vs wrong. 
The dangers of the daycs but newly gone, 
Whofe memorie is wiitten on the Eanh 
■With yet appearing blood ; and the enamplet 
Of euery Minutes ]nftancc(prcfcnt now) 
Hath put vs in ihefe ill-befeeming Armcs; 
Not to brcakt Peace,or any Branch of it. 
But to eflablifhhf re a Peace indecde. 
Concurring both in Name and Qiialitie. 

(y'fl. When euet yet was your Appeale deny'd? 
Wherein haue you beene galled by the King .' 
What Peere hath beene fubom'd.io grate on you. 
That you fhould feale this lawlelfc bloody Books 
Of forg'd Rebellion,wiih a Scale diuine? 

Bift), My Brother genciall,thcCommon-y»callIi^ 
I make my Quatietl.in parti cular. 

yytft. There is no oeede of any futh cedrclTc : 
Oi if ;licte weie,it not belongs to you. 

Mbw. Why not to him in pan, and to vi alJ, 
That feele the bruizes of the dayes before, 
Andfuffer the Condition of thefe Times 
To lay a heauie and vnequall Hand vpoa out Honori ? 

hVefl. O my good Lord OMi>i>'^'''<r, 
Conflrue the Times to theii Neceffitiei, 
And you fhall fay (indeede) it is the Time, 
And not the King, that doth you jniuiics. 
Yet for your part,it not appeatcs to me. 
Either from the King, or in the prefent Time, 
That you (liould haue an ynch of any ground 
To build aGriefeon : were you not rcflot'd 
To all the Duke of Norfolkcs Se ignories, 
Yout Noble.and right well. rcmembred Fathers K 

/Wow. What thing, in Honor,had my Father loft. 
That need to be reuiu'd.and breath'd inme? 
The King that lou'd him,as the State flood then, 
VVas forc'd,perforcc compell'd to banifh hiio ; 
And then, that Henrj Butlin^troehi and hee 
Being mounted,iind both rowfed in theii Seacei, 
Their neighing Courfers dating of the Spurre, 
Their armed Staues in chargc,illeit Beauers do wne. 
Their eyes of fire.fpatkling through fights of Steele, 
And the lowd frumpet blowing them together : 
Theo,tlien,whcn there was nothingcould haue flav'd 
My Father from the Bread of "BuHw^irookf ; 
O.when the King did throw his Warder downe, 
(His owne Life hung vpon the Staffe hee ihicw) 
Then threw hee downe himfelfe.and all their Liues, 
That by Indiament,and by dint of Sword, 
Haue fince mif-catryed vndet 'BHBm^hrooke. 
gg 3 Ifejiyou j 



414 SO^IE ACROSTIC SIGNATURES 

Signature 160. 

Xow turn to the wrongly numbered page in this play of The Sec- 
ond Part of King Henry the Fourth, which is paged 92 instead of 90. 

Note the block of type under the stage-direction, ^Enter Pnnce 
JoJin.' 

The last word of the first line is ' Mowbray.' 

The last word of the last line is ' vp.' 

Begin to read from the initial M of the word 'Mowbray'; to the 
left; doAvnwards; on the initials of the words; spelhng Malyrev 
(i. e., Yerulam), you will arrive at the initial \ of the woi"d ' vp.' 

The acrostic figure here is developed on the words : — 

Mowbray 
Ai-e 
Lord 
Vs 

Renerence 
Employ 
You haue taken Yp. 

This signature thus runs from the initial of the last word of the 
first line of the speech to the initial of the last word of the last line 
of the page. 

It is of interest to note that the word ' Employ,' without which 
this signature could not be in this block of type, has been changed 
from the word ' Imply ' as it stands in the Quarto of 1600. 



91 ThefecondTartofK^ngHenrytbe Fourth. 



ife/l.Yoa rpeak(Lor J 7Hirmhaj)aovi youlnow noiwhat. 
fbtEaileof Htttfordwjs icputtd dlett 
!n England the niort »aliinc Gentlemln. 

Who knowcs.onwIiomFortune would then htaefaul'd? 

But if your Father had bceoe Viflor there, 

Hee ne'ie had borne it out of Coucntry. 

For all the Countrey.in a penerall voyce, 

Cry'dhateypoo him: indalhheirproyefj.MdJonff, 

Were Tet on Herfird,vihom they doted on. 

Anil blefs'd.and grac'd.ind did more then theKtag. 

But this it meere digtefTion from my purpore» 

Here come I from our Princely Generall, 

To know your Gricfesjto tell you,from hit Grace, 

That he* will giue you Audience : and wherein 

It fliall appeare,that your demands are iuft, 

You (hill enioy them.euery thing fet off. 

That might fo much a« thinke you Enemiej. 

I Mtm. Cut hce hath foTc'dyj to compell this Offer, 

' And It ptoceedes from Pollicy,not Loue. 

I ff'f/?. c^i!ii'^47,yonouer.weenetotal(eitfos 
This Offer comes ftoa»Mercy,not froiilFcue> 
For loe.within a Ken our Army lyei, 
Vponmine Honor,aII too confident 
To giue admittance to t thought of felre. 
Out Baitaile is more full of Names then your*, 
Out Men more perfeS in the vfe of Atme j. 

Our Armor all as ftrong,outC»ufethcbeft; 

Then Reafon wi!l,our hearts (hould be a> gooda 

Say you not then, our Offer is compell'd. 

<W<w.\Vell,by ray will|Wee Ihail admit no Parley. 
tfi!}. That argues but the fhame of your offence: 

A lotten Cafe abides t»o handliag, 

//j/?. Hath the Pnnce fohn a hiIlCoinini.TiOD, 

In very ample vertue of his Father, 

To hcare, jnd abfolutely to determine 

Of what Conditions wee (lijll (landTpon? 
fytfi. That is intended in the Generals Haiaet 

I mule yoo make fo flight a Quedion^ 
i/j'i-,Thentake(my Lord of VVeftnietland)thi» Schedule, 

For this containes our generallGrieuanccs:- 

Each feuerall Article herein rcdrefs'd. 

All members of our Caufe,bothhere,aodhcn.cc, 

That are infmewed to this ASion, 

Acquitted by a true fubdaniiall forme. 

And ptefent enecution of our wills, 

ToTs.andtoourpurpofes conHn'd, 

Wee come viithin our swfull Banks >g»ine. 

And knit out Powers to the Arme of peace. 

»V?.Thls will I fhew theCenerall. Pleafe you Lords, 

In fight of both out Battailes.wee may meete 

At either end in peace : t«hi*h Heaucn fo frame. 

Or to the place of diffeccace call cbe Swords, 

Which mud decide it. 

Vifh. My Lord, wee will doe fo. 

/Wsff.There is a thing within my Bofome tells me. 

That no Conditions of our Peace can ftand. 

K«f?. Feare you no;,that if wee can make oui Peace 

Vpon fuch Isrgc termes.and fo abfoluce. 

As our Conditions Qiall coofift vponj 

Out Peace Oiall fbnd as firme as Rockie MountJiBCf . 
C^<w. I,but our valuation fball be fuch, 

Thateueryflightjand falfe-deiiuedCaufe, 

Yea.euery idle,nice,aod wanton Reafon, 

Shali.totheKing.ttneof this A£>ion j 

That were out Royallfaiths.Msrtyrs in Lcne, 

Wee (hill be wioaowcd with fo rough a. wiode. 



That eucn our Cotne fiiill feeme as light a; Chaffy 
And good from bad finde no partition. 

Iijh. No,no(my Lord) note this: theKingu wtanV 
Of daintie,and fuchpickingGrieuaneei: 
For hce hath found,to end one doubt by Death 
Reuiues two greater in the Heires of Life. 

Andthetefore will hee wipe hit Tables deaaf- 

And keepe noTeU-tale to his Memorie, 

That may repeat.and Hiftotie his loffe. 

To new rememU>-ince. For full well heeknowCf, 

Hee cannot fo precifelyweede this Land, 

At his mtf-doubts prefcnt occadon ; 

His foes are fo en-rooted with his friendr. 

That plucking to ynfixe an Enemie, 

Hee doth vnfaden fo.and fliake a friend. 

So that this Land.hke an offenfiue wife. 

That hath enrag'd himon, to offer ftrokes. 

As he is fttiking, holds his Infant Tp, 

And hangs refolud Cotreflion in the Arme, 

That was vpreat'd to execution. 

Hf/?. Befides.the King hath wafted all his Rod», 
Onlate Offendeu,that he now doth lacke 
The very Inrtruments of Chaflicement : 
So that his power, like to a Fanglcffe Lioit 
May offer.but not hold.. 

^i/h. 'Tis very true: 
And therefore be affur'd (my good Lord Matflia]} 
If we do BOW make our attoneraent well. 
Our Peace.wUl (like a broken Lim6e Tiliied) 
Grow ftronger.fot the breaking. 

Mtrr, Beitfo : 
Hecre is tcturn'd my Lord of Weflmerlaiid. 
EimrfffJfwtTlaul. 
tKtJl.The Prince Is here at handipleafeth yonr LordHilp 
To meet his Grace, iuft diftance "iweene our Armies? 

Mtv. Vout Grace of Yorke, in heauen'a name then 
forward. 

"Zijh, Before.and greet bis Gnce(m7 Lord)we come, 

Enttr Princi teht, 
/eti.Yoa arewel encountredhetefmy cofinjtfwfrif^) 
Good day to you,gen lie Lord Archbirtiop, 
And fotoyouLord//</?«f/,andtoalL 
My Lord of Yorke, it better fhew'd with yoy. 
When that your Flocke (alTembled by the Bell) 
Encirdedyou, to heare with reuereocc 
Your eipefition on the holy Text, 
Then now to fee you heere an Iron man 
Chearing a rowt of Rebels with yourDmmme, 
Turning the Word, to Sword; and Life to death S 
That mm that fits within a Monarches heart. 
And ripens in the Sunne-lhine of bis fauor. 
Would hee abufe the Countenance of the King, 
AIack,what Mifchiefet might hee fet abroach, 
la fliadow of fuch Greatneffe?With you.Lord Bifliop, 
It is euen fo. Who hath not heard it fpoken. 
How deepe yoQ were within the Bookei of Heaaeo ? 
To »s,the Speaker in his Parliament ; 
To Ts.tb'imagine Voyce of Heauen it felfe i 
The very Opener.and Intelligencer, 
Betweene the Grace,the Sanftities of HeauenJ 
And our dull wotkingi. O,who (hall beleeue. 
But you mif-vfethereuerence of your Place, 
EmploytheCountenance,andGraceof Heaneo, 
As a falfi: Faijotitc doth his Princes Name, 
In dcedcs dif-bonotable i Youbaue taken rp, 

Vnder 



416 



SOME ACROSTIC SIGNATURES OF 



Signature 161. 

These acrostics are found in the ' Epilogue ' to the first and second 
parts of Henry the Fourth. The page bears no page-number. (See 
p. 419.) 

Note that the capital initials down the outside left-hand side of the 
' Epilogue ' are 



F 



F 
B 

Note also the capitals clustered against the large ornamental F. 



F 



IRST 

M 

A 



The capital R in this cluster is of interest because there is not one 
initial R in the whole page. 

Note that the M falls under the I R, and that the A falls under the 
M. Here we have the suggestion of the word ' Firma.' 

Begin to read from the big F of the word 'FIRST'; to the right; 
downwards; treating the capitals FIRST as if they were initials; on 
the initials of the words of the text; spelling Firma, you will arrive 
at the capital A in the cluster. Go on continuously on the initials of 
the words; downwards and throughout the 'Epilogue' and back, 
until you have spelled Mediocria: you will again arrive at the capi- 
tal A in the cluster. The same result will happen if you begin to read 
from the capital M in the cluster to the left; downwards; throughout 
the 'Epilogue'; on the initials (but treating F I R S T as initials); 
spelling Mediocrlv Firma; at the end of the spelling of each word 
you will arrive at the same capital A in the cluster; having spelled 
Bacon's posy or motto. 

Note that ' Firma ' is the Latin word for ' Signature.' Here, per- 
haps, is a double entente, a hint to some fellow cipherer. 



F 



FEANCIS BACON 417 

Signature 162. 

I R S T MYFEARETHENMYCURTSIELASTMYSPEECH 

M Y FEAREISYOURDISPLEASUREMYCURTSIEMYDUTIE 

AND MYSPEECHTOBEGGEYOURPARUONSIFYOULOOKEFORA 



These are the first three Hnes, begun by the word ' F IE S T,' and 

FIR 
M 
A 

Begin to read on the large initial F; to the right; downwards; on 
all the letters of all the words; spelling Fikma Mediockia, you 
will arrive at the last letter (A) of the third line. 

The acrostic figure here is : — 



F 



A 



If you looke for A 



418 SOISIE ACROSTIC SIGNATURES 

Signature 163. 

Now begin to read from the capital B of the word ' But' at the 
beginning of the last line of the ' Epilogue '; to the right ; upwards; 
on the initials of the words (until you come to F I R S T, which we 
still count as initials) ; spelling Baoonocsicnakf, you will arrive at 
the big initial F of the word 'FIRST.' 

The acrostic figure here is: — 



F 



R 
A 

N 
C 
I 

s 
c 

Dance out Of your debt 
N 
O 

o 

A 

But 

Signature 164. 

Begin to read from the capital B of the word ' But ' again ; to the 
left; upwards; on the initials of the words; spelling Bacono, you 
will arrive at the initial O of the word ' One,' which begins ' One 
word more.' 

The acrostic figure here is : — 

One word more, 

N 

O 

C 

A 

But (indeed) to pray for the Queene. 





EPILOGVE. 

Il{ST,myFeare'. then,.myQurtjie: (all,my Speech. 
My Feare, is your Difpleafure : My Qirtjie, my Dutie: 
Jnd my fpeich, to 'Biggeyoiir Tar Jons. Jfyou looktfor a 
\ good Ipeecl}no'1l),you'vndoeme:Fortt)hat Ihauetofay, is 
of mine owne mskjtig : and what (indeed) Ijhould fay^'^iU 
(I douht) prooue mine owne marring, 'But to the furpofe, 
'andfo to the Venture- Be it hiomne to yon (m it is <iierj 
TfelI)Iwiis lately heeretn theendofadifpleaJtng'Play,topray your Patience 
for it,and to promtfe youa'Better : Ididmeane (indeede) topayyouTDiththiff 
Tfhich if (like an ill Venture) it come 'vnlucKily home, Ibreake-. and you ^y gent 
tie Creditors lofe. Heere Ipromijl yo» Imuld be, and heere I commit my 'Bodie 
toy our Mercies '. 'Batemefome, and Iwillpayytufome, and(tis mojl Debtors do) 
frmifeyou infinitely.' 

Jfmy Tongue cannot entreateyou to acquit me : TbiUyou command me to yfe 
my Legges ? And yet that were but light payment, to Dance out of your debt: 'But 
agpod Qonfiience,will make any pofsible fatisfaHion, andfo Ttilll. All the Gen' 
tlewomen heere, haueforgiuen me, if the Gentlemen 'tt>illnot,then the Gentlemen 
do not agree with the Centlewowen, which Tt>as neuerfeene before, infuch an Af 
fembly. 

One word nnrt', Ibefeechyou : if you he not too much chid with Fat Meate, 
our humble Author will continue the Story (tvtth Sir lohn in it) and make yoH 
tnerryfTcithfairtKathcTine of France: Tthere (for any thingi knoTi>) Fal- 
Hiffejhall dye ofafweat, fvnleffe already he be kilfd with your hard Opinions : 
ForOld-Csi(tisdyedaMifrtyrfandthifisnottheman. MyTongueis Tvearitf 
when my Legs are too, I will bidyougooJni^hti andfo kneeledowne before JQH : 
Sut (indeed) to pray for the Queent. 



420 SOME ACROSTIC SIG:N'ATURES 

Signature 165. 

This acrostic is found in ' The Actors Names ' of Tlie Life of 
Henry the Fift. 

I was attracted by the devotion of a whole page in the front of 
the play to 'The Actors Names'; and by the curious arrangement 
of the list. It is worth recoixling that if you begin to read from 
the capital initial B of the name 'Bullcalfe'; upwards; to the right 
or to the left; on the capitals alone; spelling Bacon, you will arrive 
at the capital initial N of the word ' Names.' 

Also, if you begin again to read from the capital initial B of the 
word 'Bullcalfe'; upwards; to the right or to the left; on the capi- 
tals alone; spelling Ben Ionson, you will again arrive at the initial 
N" of the word ' Names.' 

The acrostic fio:ure here is: — 



Names 


Names 


RvmOvr 


RvmOvr 


Clarence 


Sonnes 


Arch 


Northumberland 


Bullcalfe 


Of 




lustices 




Northumberlands 




Epilogue 




Bullcalfe 



Note the initials t) of the words t> ii if . and the initials 

J of the words j . . and that the name Bacon begins from the 
word ' Bullcalfe ' and the name Ionson from the word ' lustices.' 




THE 

ACTORS 

NAMES. 

pVMOVR the Prcfentor: 

eKing Henry the Fourth. 
^,.„,^ Prince Henry, if^etwiids Crowned KingHearitdiePift. 
Prince U/ip oi Lancaftcr. ^ 

//«»»;;4rfrofCloticcfter.>SonnestoH<»7 the Founh,& brethren to aw7 J. 
Titi)m<e* of Clarence. j 




Northumberland. 

The Arch ByfhopofYotke. 

Mowbray. 

Haflings. 

Lord Batdolfc. 

Trauers. 

Morton. 

Coleuile. 



Oppofites againft King Htaru the 
'Founh. 



Warwiclce. 

Wcflmetland. 

Surrey. 

Gowrc. 

Harccoiirt. 

Lord Chief eluft ice. 



.Ofthc Kings 
Panie, 



Pointz. 

FalftafTe. 

Bardolphe. 

Pifloll. 

Peto. 

Page. 



Irregulat 
HuQiorifbj 



Shallow. 7 Both Country 

Silence. JIufliccs. 

I>auie,Seru.int to Shallow. 

Phang,andSnare,i.S«ieaDts 

Moiiidic. 

Shadow.^ 

Wart. VCountry Soldlen 

Feeble. ' 

Bullcalfe. 



Drawers 

Beadles. 
Groomes 



Northucibetlands Wife. 
Pcrcies Widdow. 
HofteflcQiiicIcly. 
Doll Teare-lhcete. 
Epilogue. 




422 SOME ACROSTIC SIGNATURES 

Signature 166. 

This acrostic is found on the last page (95) of The Life of Henry 
the Fift. 

Begin to read on the letter F of the word ' Finis'; to the right; 
upwards; on the terminals of the words of the 'Chorus'; spelling 
Ffrancis Bacon, you will arrive at the terminal N of the word 
'Pen,' which is the last word of the first line of the 'Chorus.' 

The acrostic figure here is: — 

PeN 

O 
C 
A 
B 
S 
I 

c 

N 
A 
R 
F 

Fmis. 



TheLifeofl^nrytheFift. 



9S 



Exct, Onely ho hith not yet fubfctibcd this 
Where your Maieniedemands.That the King of France 
haumganyoccafion co write formatcerof Graunc, (hall 
narnc yout Highncflc in this forme, and with thi« additi- 
on, in Trench : Nojirc irefchsrfit. Hcnrj Rcj d'AngUicrre 
HcTctnede frimace: and ilms in Latinc; firttclanljlimu 
ftliiu nnjler Henrtctu Rex Anglix t^ Herei Franci£. 

France- Not ihis 1 iiaucnut Brother To deny 'd. 
But your i equcD fhill make nic let ir pafic. 

Sti^Und. I pr.iy yon then, in louc anddcareallyancc. 
Let that one Article rankewuhihcrclt, 
And thereupon ^lue me youi Dauj^htcr. 
/^r«/jff.Takchci fane Sonne. and ftum hcc blood ray fevp 
IlTuc to me. chat ilic contending Kinf;domes 
Ot Ft ante and England .whofc vcryOioaieilookcpaie, 
With cnuy of each others h:ippinctTc, 
May ccaleihcichaticd . and tins dcateCuniunftion 
Plant Ncighbout-hood and Chtinian-Iikcaccoid 
In ihcif fwcci Bofomes that ncuet Warre adiunce 
Hu bleeding Swotd tvvixt England and faitc Trance. 

L'"di Amen. 

Ki'^g Nowv welcome A'.</f and beare me witnclTe ally 
That here 1 killehcr ajmy SoueiaigneQiiecne. 

FloHTllh 

Quer God, the befl maker of all Marriages, 
Combine your hcarti in one, yout Rcalmcs in one : 
As Man and Wife being two.atconein louc. 
So be there twut your Ktngdomes fuchaSpoufally 
That ncuet may ill Office, or fell lealoufic. 



Which troubles oft the Bed of bleflet? Marriage, 
Thtuft in betweenc the Pation of thefc KingdomtS, 
To (Dskc diuorce of (heir incorporate League : 
That Englifli may as French.Fiench Enghfhnicn, 
Rcceiue each other God fpcakc (his Aiucq. 

/ill. Amen. 

Xii>». Prepare we for our Marriage r on which day. 
My Lord of Burgundy wce'lc take yout Oath 
And all the Peeics.foifuretieof out Leagues. 
Then (liall I fwearc to Kaie,iad you to me. 
And may our Oaihcs well kept and profp rous be« 
Senet Eximt, 

Enter Chwriu. 

Thus farre with rough, and all-vnable Pen, 

Our bending Author hath purfu'd the Story, 

In little toomc confining mightie men. 

Mangling by ftaris the full courfc of their glory. 

Small time . but in that l'mall,mo(l greatly liued 

ThisStarie of England. Fortune made bis Sword} 

By which.the Wotlds befl Garden he atcbieucd : 

And of It left his Sonne Impenall Lord. 

Henry the Sixt.in Inlant Bands ctown'd King 

Of Fiance and England, did this King fuccecds 

Whofe State fo many had the managing. 

That they loll Fiance,and made bis England bleeo : 

Which oft our Stage hath (howoe ; and for tbcii fakfj 

In your fairc minds let this acceptance take. 



FINIS. 




kz 



The 



424 SOME ACROSTIC SIGNATURES OF 

Signature 167. 

This acrostic is found on the first page of The First Part of 
Henry the Sixt. (See p. 428.) 

Note the block of type at the top of the second cohnnn, which 
begins with the word * Name ' and which is broken off with tlie 
word ' bright — '. 

Begin to read from the initial N of the word 'Name'; to the 
right; on the initials of the words of the text; downwards; spelling 
NocAB, you will arrive at the initial B of the word ' bright — 

The acrostic figure here is : — 

Name 
O 

c 

A 

Bright— 

Begin to read from the initial N of the word 'Name '; to the left; 
on the initials of the words of the text; do^^^lwards; spelling 
NocAB, you will arrive at the initial B of the word 'bright — '; thus 
ke^'ing the cipher by reading either to the right or to the left. 

The acrostic figure here is : — 

Name 
O 
C 
A 

Bright — 



FEAN^CIS BAC0:N^ 425 

Signature 168. 
Xow note on the second page of the play that the initials of the 

first two words of the first two lines of the second column are t, of 

the words tj ^ (See p. 429.) 
rJonhres. ^ ^ ' 

Treat the initials of the first words of all the lines of the text as 
if they were on a string, and begin to read from the initial F of the 
word 'Farwell'; down the column; up the next; down the next, 
etc. ; sjjelling F Bacon, you will again arrive at the initial N of the 
word ' Name,' which began the cipher on the first page. Thus we 
have this cipher doubly keyed from well-defined points in the typo- 
graphy. 

The acrostic figure here is : — 

Farwell 

Bonfires 

A 

C 

O 

Name 

Signature 169. 

Begin again to read from the initial F of the word 'Farwell' ; to 
the i-ight (first word, second column, second page); downward; on all 
the capitals in the text; up the next column; down the next, etc.; 
spelling FravjSTCIs Bacon, you will still arrive at the initial N of 
the word ' Name,' with which we began the cipher on the first page. 

The acrostic figure here is : — 

Farwell 

R 

A 

V 

N 

C 

I 

s 

B 

A 
C 

o 

Name 



426 SOME ACEOSTIC SIGNATUEES OF 

Signature 1 70. 

Begin to read from the initial N of the word ' night,' which is the 
last word of the first line of the play; downwards; on the initials of 
the last Avords of the lines; and up the initials of the last words 
of the lines on the next column ; spelling backwards Nocab, you will 
arrive at the initial B of the word ' bright,' with which we ended the 
first signature in the play. (See p, 428,) 

The acrostic figure here is : — 

Night 
O 
C 
A 

Bright 

We thus have the words ' night ' and ' bright,' the initials of which 
are the end letters of the name Bacon, keyed from oj^posite ends 
of four facing columns. 

Signature 171. 

This acrostic is found in the last block of type of the second col- 
umn of the first page of The First Part of Henry the Sixt; that is 
to say, in the block of type which follows the words ' Enter a Mes- 
senger.^ 

We have already found the acrostic name Bacon in the upper 
block of type in this column. 

Begin to read from the initial M of the word * Miseries,' which is 
the last word in the column ; to the left ; upwards ; on the terminals ; 
spelling Malurev (= Verulam), you will arrive at the initial terminal 
V of the word ' vs'd,' in the line: — 

*■ Exe. How were they lost? what trecherie was vs'd?' 
Begin again to read from this initial terminal ' v ' of the word 
'vs'd'; to the left ; upwards ; on the terminals; spelling Verulam, 
you will arrive at the initial M of the word ' My,' thus keying the 
title from the initial of the last word to the mitial of the first word. 
This is a ' weak ' acrostic. 



FRAKCIS BACON 427 

The acrostic figure here is : — 

My honourable Lords, health to you all: 
A 
L 
U 
R 
E 
Vs'd [21st line from bottom.] 
E 
R 
U 
L 
A 
Miseries, 

Enter 

Note that in reading this acrostic the title must be spelled with 
the letters Verulam, and not with the letters Uerulam, i. e., 
' MalureV ' and not ' MalureU.' Though the V and U are often 
used for one another in the lower case, they were not so used in 
the initial capitals. A capital V was often used for a capital U, but 
a capital U was not used for a capital V. 



96 




The firft Part of Henry the Sixt. 



(t/fHiiS Trim MS. Scoena Trima, 




Enter the TuneTaS of King Henry the Fife, attended on bj 

tbeDti!;e of Bedford, Rtgttit of Fr, nice; the Duke 

ofClojler.Prtte^or; the Dii\eofExeur Ifar- 

mclfe, the "Biftiop cfiywcheflir^ And 

ibe "Duke of Somerfii. 

"Sedfsrd. 
Vngbeyheauens with black.yicid day tonigjit; 
Coineu imponingcKaiijjeoCTimcs aiidStatcs, 
Btandifli yom cryflall Trcflcs in the Skie, 
And Willi chem Icoui ge the bid reuoUing Stars, 
That haue confented vnto Henries death ; 
King Henri the Fift.too famous to liuc long, 
England ne'te loft a Kmg of io much woith. 

(jUJl England nc re had a King vntill his timt: 
Vcrtue he had.dcfcruing to command, 
His btandifln Swotd did blindt men with his beatiies, 
His ArmrsCpred wider then a Dugons Wing? : 
His fpark'.ingEyer.teplfot with wrathfull fire. 
More dazled and drone back his Enemies, 
Then mid-day Sunne.fietce bcut againll their faces. 
What fhouldlf3y?hisDcedseiiceed all fpeech: 
He nere lift Tp his Hand,but conquered. 
£xe.\Vc mourne in black.why mourn we not in blood? 
Henrj is dead, and neuer fhall reuiue: 
Vpon a Woodden Coffin we attend; 
And Deaths difhonourable Vifl'orie, 
We with out (lately prefence gloiifie. 
Like Captiues bound to a Triumphant Carre. 
What?niall wecuil'fthe Planets of Midup, 
That plotted thus our Gloriesouerthtow? 
Ot fhall we thinke the fubtile-witted French, 
Coniuters and Sorcerers, that afraid of him. 
By Magick Verfes haue contriu'd his end, 

ifinch. HewasaKing.bteftof the Kingof King«. 
Vnto the Frcnch.lhe dreadfull ludgemcnt-Day 
So dieadfull will not be.at was his fight. 
The Battailes of the Lord of Hofls he fought : 
The Churches f'raycrs mode liim foprofpetouj.i 

Clofl. The Church? where is it? 
Had not Church-men pray'd, 
Hii thred of Life had not fo foonedecay'd. 
None doe you like, but an effeminate Princo^ 
Whom like a Schoole-bey you may ouer-awe. 
mnch. Ch/fer,vi\\n ere we like.ihou art Proteflof »' 
And lookcfl to command the Ptince and Realmej 
Thy Wife is pcowd, (Vie holdcth thee in awe, 
j Mote then God or Religious Church-men may. 



Gloji. Name not Religion,for thou lou'ft the Flefb 
And ne'te throughout the yccte to Church thou go'ft. 
Except it be to pray againd iliy foes. 

Bei/.Ceafe,ceafethefc larre»,8i red yout minds in peace: 
Let's to the Altat: Hcialds wayt on vs; 
In (lead of Gold, wee le offer vp our Acmes, 
Since Atmesauaylcnoi.now that Hetrftizii, 
Poderitie await for wretched yeeies. 
When at their Mothers moirtned eyes.Babes (hall fuel 
Our lie be made a NouriOiof falcTeares, 
And none but Women left towaylethe dead, 
Henry the Fife, thy Chofl I inuocate : 
Profper this Realme, keepe it from Ciuill Broylct, 
Combat with adueife Planets in the Heauens ; 
A fatrc more glorious Starre thy Soulc will make. 
Then IhUm C^/rr.or bright — • 

Fnier a Afejfenger. 
Meff. My honourable Lords.healthtoyoualla 
Sad tidings bring I to you out of France, 
Of lolfe of (laughter, and difcomfiture; 
Guycn Cbampsigne,Rheimes,Orleance, 
Paris Gu^fors,Poii51 ier!, are all quite lod, 

Bedf. What ray'(r thou man.bcfore dead Henrj'j Coziizi 
Speakc fofcly.or theloffe of ihofe great Townes 
Will m>ke him burfl his Lead, and rife from death. 

ChB. Is Paris lo(l>i> Roan yeeldedvp? 
If Henrj were recaU'd to life againe, 
Thefc news would caufc him once more yeeld the Ghoft, 
Exe. How were they lod ? what trecherie was vs'd? 
Meff Noirechetie, but waniofMcn and Money. 
Amongft the Souldiers this is muttered. 
That here you maintaine feuerall Faiflions ; 
And whil'fl a Field (hould be difpatcht and fought, 
You are difputing of your Generals. 
One would haue Imgring W3rres,with little coft ; 
Another would flye fwift,but wantcth Wings ; 
A thitd thinkcsjwithout expcnceat all, 
By guilcfull faire words, Peace may be obiaynM. 
Awake, awake,Engli(}i Nobilitie, 
Let not flouth dimme your Honors, new begot j 
Cropt a;e the Flower-de- Luces in your Arme» 
Of Englands Coat,one halfc is cut away. 

Exe. Were our Teares wanting to this Funerall, 
Thefe Tidings would call forth her flowing Tides. 

"Bedf. Me they concerne.Regent I nm of France ; 
Giueme my Heeled Coat.Ile fight for France. 
Away with thefe difgracefuli wayling Robes; 
Wounds will I lend the French in dead of Eyes, 
To weepe their intetmilTmeMifetics. 

Eiinr 



Tbefirjl Tart of Henry theSixt. 



97 



ErUT to them anciher Mtfnger. 

JUef. Lords view thcfeLetcers.fullol bad roifchancc. 
prince It ceoolttd from the Eiiclifli quite, 
Except fome petty TowiieE.of on import. 
The Dolphin Cfcir/M is crowned King inRheimet: 
ThcBifliicSot Orlein.:e withhimis ioyn'J : 
JSf^nii/J.Duke of Aniou, doth take his part, 
The Duke of Alanfon flyeth to hu fide. Sxit. 

Sxr. The Dolphin crown d King? all flye to hiin? 

whither fliall we flye from this reproach i 

Glofl. We will not flye.but to our enemies throats, 
'SeJf'"'J,i( thou be tlacke, He fight it out. 

"ifd. Chllcr, why doubifi thou ofmy fotWJltlneffe? 
An Army hjue I miidei'd Inmy thoughts, 
Wherewith already France is ouer-run. 

Eiiiir nmthfr Mefjingir. 
c3/f/!My grjcious Lords, to adde to your laments, 
Wherewith you now bedew King Htnnti heaife, 

1 mufl informeyouofa difmall fight, 
Betwixt the (lout Lord Ti'IOot,itvi the Frencli. 

Whi. What>whcrcin Tulht ouercame, n't (o ? 

■^.C^ief.O no : wherein Lord Ttlll"' was o'leibrown: 
The circumflance lie tell you mote at large* 
Tlie tenth of Auguft laft, this dreadfull Lord, 
Rctyimg from the Siege of Otieance, 
Hauing full fcatce fix thoufand in his troupe. 
By three and twentieihoufand of the Frencb 
VVas round incotr)p3ffcd,and fet vpon: 
No IcyTure had he to t^rankc his men. 
He wanted I'lWcito fet before his Archers: 
Inficad whereof, fharpe Stakes pluckt out of Hedges 
They pitched inthe ground confufcdiy, 
Tokeepetlic H.-rfemcnofr.from breaking in. 
Mote tl-,c!i thicc lio'.'.es the fight continued ; 
Where vaham Ti/i^o(,aboue humane thought, 
Enaii^ed wonders with his Sword and Lance. 
Hundreds he fcnt to Hell, and none duiR fland him: 
Here, there. and euery where enrag'd.he flew. 
The French cxclaym'd, the Deuill was in Armes, 
All the whole Army flood agaz'd on liim. 
His Souldiert fpying his vndauntcd Spirit, 
A Talbot ^i T-tf('ot,cty^d out amaine, 
And rulKt into the Bowels of the Battaile. 
Here had the Cont^iielt fully been feal'd vp, 
If Sir hhn Falflfff' had not play'd the Coward. 
He being in the Vauward, plac't behinde. 
With purpofc to relieue and follow them, 
Cowatdly flcd,not hauing ftruck oue flroake. 
Hence grew the generall wrack and tnaflacre : 
Enclofed were they with their Enemies. 
A bafeWalloOjto win the Dolphins grace, 
Thrufl Titlhoi with a Speate into the Back, 
Whom all France.vvith their chiefeaffcmbled ftrength, 
Durfl not prefume to looke once in the (sec. 

Bciif. Is Tii/^iii flainethenjlwilinaymy fclfe, 
For Iiuing idly here, in pompe and eafc, 
Whil'ft I'uch a worthy Leader, wanting ayd, 
Vntohisdaflaid foe- men is betray 'd. 

yAieff. Ono,heliue»,but istooke Prifoner, 
And Lord 5r4/e/ With him, and Lord Hun^erford: 
Mofl of the rcrt naughter*d,or tnokc likewife. 

Eedf, HiKRanfonictliere is none but I flrallpay. 
He hale the Dolphin headlong from his Throne, 
His Ctowne (Viall be the Ranfome of my friend : 
Foutc of theit Loids He change for one of ourt. 



Farwell tny M»nert,to my Taske V7iU I, 
Bonfire! in France forthwith I am tp inake. 
To keepe our great Saint Cf»2" Feaft withall. 
Ten thoufand Souldiers with me I will take, 
Whofe bloody deeds fhall make all Europe cjuake. 

i-Uifrf So you had necd.fotOrleanceisbefieg'd, 
TheEnglifli Army ii grownewdake and faint : 
The Earle of Sa.lisbury craucth fupply. 
And hardly keepes his men fromrliutinie. 
Since they fo few, watch fuch a multitude. 

fxr. Remember Lords yourOathes tohew^fWorne: 
Eyther to quell the Dolphin viterly. 
Or bring him in obedi ence to your yoakc. 

SfW/. I doe rernemberit, and here takemyleaue. 
To goe about my preparation. Exit SeJfrJ, 

Chjf. He to rhe Tower with all the baft I can. 
To view thAnillerie and Munition, 
And ihcnlwiUpiocIayme young Htnrj King, 

£;<r/r Glijltr. 

Exc. ToEltamwill I,wIicretheyoungKingi>, 
Being ordayn'd his fpeciall Gouernor, 
And foi his fafetie there He befl deuife. Exit. 

H'lnch. Each hath his Place and Fiin£<ion to attend: 
I am left out; for nie nothing remainet : 
But long I will nof be lack out of Office. 
The King from Eltamllntendto fend, 
And fit at chiefefl Sterne of pubiique WealCf 
Exit. 

Smni » VUitrip.. 

^nttrChifrUtyAliin^ott.MndKei^rteiT^igArchinv 
ftilh Drum und Seuljim. 

Churtei. Wm-r hit true mouiiig.euen as in the Heaueni, 
So in the Earth, to this day is not knownc. 
Late did he fliine vpon the Englidi fide ; 
Now wc are Vi£lotK,vpon vs he fmilcs. 
What Townes of any moment.but we fiiuc f 
At plcafure here we lye,nf ere Orlcance: 
Oiherwhilcs.thefamifht Engli(li,likepalcGhoft», 
Faintly befiege vs one houre in a moncth. 

.<4/<i<.They want their Poriedge,& their fat Bui Bceues: 
Eyther they mufl be dyeted like Mules, 
And haue their Prouendet ty'd to ihcir mouthes. 
Or pitteous they will looke, like drowned Mice. 

Keifniir.Ld'i ray fe the S iege ; why liue wc idly here ? 
TtilM is taken, whom wc wont to fearc: 
Remayncth none but mad-brayii'd Stiutmy, 
And he may well in fretting fpcnd his gall. 
Nor men nor Money hath he to make Warrc. 

Clinrlci. Sound,foundAlarum,we will rulhoo them. 
Now for the honour of the forlorne French ; 
Him I forgiue my death, that killeth me, 
When he fees me goe bark one foot, or flye. Extunt. 
Htrt jiUrHm^ ihry are trmea iack^lrf thi 
Eti^liP?,mth great hffe. 

titer Charles, AUnfaii, ani Reiirtieir. 
Charlei.WUo euer faw the likc?what men haue I? 
Dogges,Cowards,Diflards: I would nc'rebaucfled. 
But that they left me 'inidll my Enemies, 

Rei^neir. S.tlutarj ii a defpcrate Homicide, 
He fighteth as one weary of his life : 
The other Lords, like Lyons waiitingfoodc, 
Doe rufh vpon vs aj their hungry prey. 

It 3 jiUnf. frej. 



430 SOME ACEOSTIC SIGNATUEES 

Signature 1 72. 

This acrostic is found in the last page of The First Part of Henry 
tlie Sixt. 

Note that the initial of the last word of the first line of the second 
column is the B of the word ' breast '; and that the initial of the first 
word of the last line of the same column is the B of the word ' But.' 

Begin to read from the initial B of the word 'breast'; to the left; 
downwards; on the initials of the words of the text; spelling Bacon, 
jou will arrive at the initial N of the word ' Not.' 

Begin to read from the initial B of the word ' But '; to the right; 
upwards; on the initials of the words of the text; spelling Bacon, 
you will arrive at the same initial N of the word ' Not '; thus keying 
the cipher. 

The same result is obtained by reading from the same initials, but 
to the right and to the left instead of to the left and to the right, in 
the respective cases. 

The acrostic figure here is : — 

Breast 
A 
C 

o 

Not 
O 

c 

A 

But I will rule, etc. 

Note the lines on which this acrostic centres. They are : — 

' If you do censure me, by what you were, 
Not^ what you are, I know it will excuse 
This sodaine execution of my will.' 

C Not. The centre of the cipher.) 



I The firJlTartof Henry the Sixt , 

I Muft be companion ofhis Nuptiitl bed, 



lip 



And therefore Lord*, 6ncc he tffefts her moO 
Mod of all thcfe reafon$ bindeth »5, 
In our opinions fhe Hiould bepreferr'd. 
For what is wedlocke forced; but i Hell, 

AnAgeofdifcord aiidcr'ntinuall (Irifc, 

Whereas the contranc bi ingeth blifTe, 

And is a patierne of Celediall pea«e. 

Whom mould we match with //<»r7 being a'Ki rig. 

But CMnrgartt, that is daughter to a King : 

Her peerelclTe feature, ioyned with her bitih, 

Approues her fit for none, but for i King 

Her valiant courage, and vndauntcd fpitir, 

( More then in women cottimonly is feene) 

Will anfwer our hope in iflue of a King, 

For Henry, fonne vnto a Conqueror, 

Ulikely to beget moreConqueiors, 

If with a Lady of fo high refolur, 

(As is fairc AUrg.irit') he be link'd in louc 

ThcnyeclJ my l.ordi.andhccre conclude with mee. 

That ,/l^«rj,ir«fliall be Queene, andnonc but (bee. 

King, whether it be through force of your report. 
My Noble Lord of Snffolke.- Or for that 
My tender youth was neuer yet attaint 
With any paflion of inflaming loue , 
I cannot tell : but this I am aflut'd, 



I feele fuch Diarpe dilTention in my breaft. 

Such fierce alarums both of Hope and Feare, 

As 1 tm (icke with worling of my thoughts. 

Take therefore niipping. pode my Lord to France, 

Agree to any coucnants, and procure 

That Lady AlArgcirtt do vouchfafe to come 

To crofle the Seas to England, and be ctown'4 

KingZ/fOTirtfalthfull and aiinointrd Queene. 

For your cxpences and fuffcient charge. 

Among the people gather vpa tcnih. 

Begone I fay, for till you do leiurne, 

I red perplexed with a ihoufandCaret, 

And you (good Vnckle)banifh all offence; 

If you do cenfure me, by what you were, 

Not whatyouate, Iknow itwillrxcufe 

This fodaine execution of my will. 

And fo condu^ me, where from company, 

I may teuolue and ruminate my grecfe. Cxit, 

^lo. I grecfe I feare me, both at firH and laft. 

Exit Ctceentr. 

Siif. TbusSuffolke haih preuail'd.and thus he goes 
As did the youihfull P/irii once to Greece, 
With hope to (inde the like :uent in loue, 
But ptofperbettet than theTtoian cjid : 
Margaret (halt now be Queene, and rule the King : i 

But 1 will rule both her, the King,aDd Rcalme. Exit \ 



FINIS. 




m% 



The 



432 SOME ACROSTIC SIGNATURES OF 

Signature 173. 

This acrostic is found on the last two pages, 145 and 146, of TTie 
Second Part of Henry the Sixt. (See pp. 434, 435.) 

Begin to read from the initial F of the word 'Fixis'; upwards; on 
the initials of the first words of the lines of the text; down the same 
on the next column; up the next, as on a string; siDelling Fran 
Bacon, you will arrive at the initial N of the word ' Kow,' wliich 
begins the first line of the second column of the preceding page of 
the play (p. 145). 

Now note that the initial of the first word of the bottom fine of 
that column is the B of the word ' But.' 

Begin to read from the initial B of this word ' But '; up the initials 
of the first words of the lines of the text; spelling Bacon, you will 
arrive at the initial N again of the same word ' Now ' on which we 
ended the previous cipher. 



fea:n^cis bacois^ 433 

The acrostic figure here is : — 

Now 
O O 

c c 

A 



But then, ^ ,^ 



A 

R 

FINIS 



ThefecondTarto/Hern^tbeSixt, 



If you oppofe your fclues to match Lord Warwicke. 

Ctif. Hence heapeof wrath, fouleindigeftedlumpe, 
A» crooked in thy manoeci, ai thy ftiape. 

Tor. Nay wc (Viall heate you thorowly anon. 

CUf. Takchcedelcaftby youi heate you burneyouc 

fcIuM : 

King. Why WatwicVcjhaihthyknee forgot tobow? 
01dSalsbury,flianieioihyfiluerhaire, 
Thoumsdmifleader ofthy btain-fickc fonnc. 
What wilt thou on ihy deaih-bed play ihc Ruffian* 
And feeke for forrow with thy SpeiSadcii' 
Oh wh»re is Faith ? Oh, where it Loyalty.? 
If it be banidit from the ftoftie head. 
Where fhall it finde a harbour in ihe earth i 
Wilt thou go diggea graoe to finde out Warre, 
And Oiame thine honourable Age with blood? 
Why art thou old, and want'fl experience? 
Ot wherefore doeftabufc it, if thou haft it? 
For (Viamc in duiie bend thy knee tome, 
That bowes vnto the gtaiie wiih mickic age. 

Sill. My Lord, I hauc confidered withmy felfe 
ThcTitleofthisinoft renowned Duke, 
And in my confcience, do repute his grace 
TherightfullheyrcioEnglandt Royallfcate. 
King. HjftthottnotfwomeAUegcancevniomc? 
Snt. Ihaue, 

Ki. Canft thou difpenfe with heauen for fuch an oath ? 
Sal. Itisgreat finnc.tofwearcvDtoafiimev 
But greater fjnnc ro kccpc a finfull oath : 
Who can be bound by any folemneVoNV 
To do a murd'rous dcede, to rob a man. 
To force a fpoilcflTe Virgins ChaRitic, 
To reaue theOrphan of his Patrimonie, 
To wring the WiJdow from her cuftom'd right. 
And hauc no other reafon for this wrong. 
But that he was bonml by a folcmne O aihf 
^K, AfubileTraitotnccdsnoSophiftcr. 
Ki"j. Call Euckingham,Bndbid him armehimfelfe. 
Terke^ CallBuckingham.and all the ftiendt thou hafl; 
I am refolu'd for death and dignitie. 

OliClif.Jht firft I warrant thee.if dreame* ptoHC trot 
tyjr. You were beO to go to bed.and dreame a^i'me. 
To keepe thcc from the Tempefl of the field. 

Old Clif. I am tcfolu'd to beare a gteaiei normc, 
Tben any thou canft cooiure vp to day : 
And that He write »pon thy Burgonet, 
^ightlbutknowtheebyihyhoufedBadge,. 

War. No w by my Fathers badge, old Netiils CteW, 
the rampant Beare chain'd to the ragged Oaffe, 
■this day He weare aloft my Biitgpnet, 
At on a Mountaine top, the Cedar (hewe!. 
That keepeshisleaues infpight of any ftorme, 
Eueii io afiVigbt thee with the view thereof. 

OldCltf. AndfrotnthyBurgonetlle rend thy Beite, 
And ttead it vndet foot with all contempt, 
Dcfpight the Bearard, that ptotefls the Beare". 
ra.Clif. And fo to ArmcsviaoriousFather, 
To quell the Rebels, anrf their Complices. 

Rich. Fie,Charitiefor(hame,fpeakenotmrpight, 
For you (liall fup with lefu Chviii to night. 

7o Clif. Foulc ftygmaiickc that's more then thou 
/canft tell. 

Rie. Ifnotinhcaoen.you'lfutely fopinhell. txantt 

Enter Witrwick;. 
Wtr: Clifford cfCumberland, 'til Watwicke tilles : 
And it thou doft not hide thee from (he Beare, 



»4-5 



Now when the angricTrumpctfoundsaUrum, 
And dead mens cries do fill theeniptie aytc, 
Clifford 1 fay, come forth and fight with me, 
Proud Northctne Lord, Cliftord of Cuitibetland, 
Watwicke ii hoarfe w iih colling thee to atmis. 
Sttter I'oike, 

W»r. How now my Noble Lord? What nil a. foot. 

Ter, Tfie deadly handed Clifford flew my Steed : 
But march to match 1 liauc encoiinrred him. 
And made a prey for Carrion Kytcs and Crowes 
Euen of the bonnic beat) he loued fo weiL 
Eiicr Cliffiri, 

IKtr. Ofone or both ofvs the time is come. 

Ttr. Hold Warwick; fcek thee out fome other chace 
For I my felfc mufi hunt this Deere to death. 

(r.ir.Tlien nobly Yorke.'iis for a Crown thou fightfl; 
As I intend Clifford to thriuctociay, 
It gtecues my fouleto leanc theee vnafTail'd. ExiifVar. 

Clif, What fceft thouinnic Yotke? 
Why doft thou paufc ? 

Ttrkf. With ihybtaucbearing (houldlbc iilJouc, 
But that thou art fo faf^ nunc enemie. 

Clif. Nor fhould thy piowcfle want ptaife & eflecmc, 
But that *tis (he wnc ignobly, and in Treafon. 

Torlie, Solct it helpc nienow againf^ thy fwordj 
Asl in iuflice,andtruetighttxpreflcit, 

Clif. My foule and bodic on the ailionboth. 

Tcr, Adreidfull lay, addrcffe thee ijifianily. 

^Iif. La fit Corrone let tiimfntt. 

lor. Thus Wartehaih gmen thee peace,fory art flill. 
Peace withhis foulc, heauen ifit beihy will. 
Enter jottg CUjfiird. 

Clif. Shame and Confufion all is on the rout, 
Feare frames diforder, and ditorder wounds 
Where it (liould guard. O WarrCjihoufonncofhcll, 
Whom angry heauens do makeiheir minifter. 
Throw in the frozen bofomec of onr part. 
Hot Coales of Vengeance. LeinoSouldierflye, 
He that is truly dedicate to Wirre, 
Hath no ftlfe-lone ; nor he thai loues himfclfe. 
Hath not effeniially, but by circumftance 
The name of Valour. O let the vile world end. 
And the premifcd Flames of the Lafl day. 
Knit earth and heauen together. 
Now let the generall Trumpet blow hiiblafl, 
Patticularities,and pettic founds' 
To ceafe. Was't thou ordaiii'd (deercFather) 
To loofc thy youth in peace, and to atcheeue 
TheSiluerLiueryofaduifed Ape, 
AndinthyReuerence,andthyChaire-daye*.thlM 
TodieinRuffianbaitell? Euen acthit fight. 
My heart is turn'd to flone : and while 'tit mine. 
It (hall be ftony. Yorke, not our ol^ men fpaiei ? 
No more will I their Babes,Tearej Virginall,' 
Shall be to me,.euen as the Dew to Fire, 
And Beautie, that the Tyrant oft lecbimet. 
Shall to my flaming wraih, be Oyle and Flax : 
Henceforth, I will not hiuc to do with pitty. 
Meet I an infant of the houfe of Yotke, 
Into as many gobbits will I cut it 
As wilde CMnU* yong Aifirtu did.. 
In cruelty, will I feckeoutn/y Fame. 
Come thou new ruine of olde Cliffords honfe t 
As did t/tjieu old Anchjfet beare. 
So beare Ithce vpon my manly (houldet j : 
But then, «/£»«</ bate a liuingloade; 

o 3 Nothing 



1^6 



Nothing fo hcauy at tbtfe woes ofminc. 

E«lir RittarditedSemfrfit lef^hl. 

Rich. So lye thou thcie ; 
Poc vndecivtaih an Alc-houfc pjltty fignc,i 
The Caftle in S. t^lioni, Somcrfct 
Hath made the Wizard fimous in his deaih : 
Sword, hold thy temper ; Heart, be wijthfull fliU : ) 
Prleftspray for enemies, but Prrnccsliill. 
fi^hu Excurfuni. 

Enter Kifrf,^ntim,mdo!litr!, 
Qm. Away my LorJ, yon are flow, for Ciame away. 
King, Can we outrun the Heauens ? Good Aiitr^itrel 
ftay. 

Qn. What are you mideof>You*l nor fighc nor Hy; 
Now is it manhood, wilcdome,and defence. 
To giue the enemy way, and to fecure vs 
By what we can, which con no more but fiye. 

e^liirum afjrit off". 
If you be tanc, we then fhould fee the bottome 
Of all our Fortunes : but if we haply fcapc, 
(K s well we may, if not through your negleft) 
We (liall to London get, where you are lou'd. 
And where this brcachnov/ in out Fortunes made 
May readily be fiopt, 

SuterChjford. 

Clif. But that my hearts on future mifchecfc fct, 
I would fpcake blaiphemy ere bid you fiye : 
But fiye you aiuft : Vncureabie difco.nfite 
Reipnes in the hearts of all our ptcfent parts. 
Away for your rcleefc, and we will hue 
To fee their day.and themour Fortune giue. 
Away my Lord, away. Excmt 



ThefecondTart of Henry tbeSixt, 



Alarum. T^trt^t. EmcrTorkf, Kichard,}rat>nkt, 
and SclditrtfcUh Drum rf- Colours. 

Torkf. Of Salsbury, who can report cf him, 
Th«t Winter Lyon, who in rage forgets 
Aged contufions, and all brufti of Time .• 
And like a Gallant, in the brow ofyoutb, 
Repaires him with OccaCcn. This happy day 
Is not it felfe, nor hauc we wonne one foot, 
IfSalsburybeloft. 

Rich. My Noble Father: 
Three tiroes to day I holpc him to his horfe. 
Three times befttid him : Thrice 1 led him off. 
Perfwaded him from any further i&: 
But flill where danger was, ftill there I met him. 
And like rich hangings in a homely houfe, 
So was his Will, in his old feeble body, 
BuiNobleasheisjlookewhetehecomeM 
Enter Saliilfitrj. 

$t!. Now by my Sword.well hafl thou fought to day 
By'th'MafTe fo did we all. I thankc you Richnrd. 
Godknowejhowlongitis I hauetoliue: 
And if hath pleas'dhim that three times to inv 
Yon liaue defended me from imminent dcaih. 
Well Lordijwe haue not got that which we haue, 
' Pis not enough out foes are thii time fled, 
Being cppofites of fuchrepayringNatute. 

To'ks. 1 know out fafety is to follow iheo). 
For (as I heare) the King is fled to London, 
To call a prcfent Coutt of Parliament : 
Lee vspurfuehim ere the Writs go forth. 
Wliatlayes Lord Warwicke.fliall we after them f 

W.tr. After them : nay befcie them ifwe can : 
Now by my hand (Lords) 'twas a glonoiii day. 
Saint Albons baiiell wonne by famous Yotke, 
Shall be ctemij'd in all Age lo come. 
Sound Drumme and Trumpets, and to London all. 
And more fach daycs as ihcfe, to vs befall. SxiHnt 




436 SOME ACROSTIC SIGNATURES OF 

Signature 1 74. 

These acrostics are found in The third Part of King Henry the 
Sixt. 

I find no acrostic in the front of the i^lay. 

Pages 165 and 166 are wrongly numbered 167 and 168. (See pp. 
438, 439.) 

Note on the wrongly numbered page 167 the passage which fol- 
lows the direction, ' Takes off his Crowned in the left-hand coliman; 
and ends before the direction, '•They leade him out forcibly .'' 

We shall treat the block of type between these two directions, 
which is devoted to the uncrowning of King Edward. 

Begin to read from the initial B of the word ' But '; to the right; 
downwards; on the initials of the words of the text; spelling Bacon, 
you will arrive at the initial N of the word ' Now,' which is the initial 
of the first word of the last Ime of the passage with which Ave are 
dealing. 

This name may be keyed by reading it from the same point to the 
same point, but downwards to the left instead of to the right. 

The acrostic figure here is: — 

But Henry now shall, etc. 

A 

C 

O 

Now for a-while farewell, etc. 



FRANCIS BAC0:N^ 437 

Signature 175. 

We now turn to the next page, 168, which is also wrongly num- 
bered. (See p. 439.) 

Note that the initial of the last word of the first line of the first 
column of the page is the F of the word ' free.' 

Note also that the last two words of the last line of the same col- 
umn are ' by mee.' 

Begin to read from the initial F of the word ' free '; to the right; 
on the initials of the words of the text; downwards; spelling Fraun- 
cis Bacon, you will arrive at the initial N of the word ' no ' in the 
bracketed phrase ' (for I command no more).' 

Now begin to read from the initial B of the word ' by,' in the 
phrase 'by mee' at the bottom of the column; to the left; upwards; 
on the initials of the words of the text; spelling Bacon, you will 
arrive at the initial N of the same word ' no ' in the bracketed phrase 
' (for I command no more) '; thus keying the cipher. 

The acrostic figure here is: — 

But Warwicke, after God, thou set'st me Free 

R 
A 
V 
N 
C 
I 

s 

B 
A 
C 

O 

(for I command No more) 
O 
C 
A 
By mee. 

I regard this as a ' weak ' acrostic, but print it, as it is sufficiently 
remarkable as it stands. 



The thirdTart ofK^ng Henry the Sixt, igy 



K.eibr, Ye»^tothciofCl«ence, 
Art thou here too? 

Nay then I fee.thit Cdw:wi ncedi muft dowoe. 
Yet H^tmuksMitf^'x^htof M mirchaoce. 
Of thiethy felfe,ind ill :hyCcKnp!icej, 
£iii»<ri/v»ill»lwJyeibf»rehimfelteajKing: 
Though Fortunes nullice ouenhrow my State, 
My minde eiceedei the coroptfle of her Wheelc. 
tftrm. Then foi hii lainde, be Ei»*ri Englandj King, 

Ttik>i tfhU Critnit. 

Bot Hnrj ntrw flull v»e»re the En jllfii Crowne, 
And be true King in Jecde: thou bot the lhldow« 
My Lord of Sooierfet, at my requcft. 
See thai fotih'^ithDukefiirjMbecohuey'd 
Vntotny Brother Arch-Bifhop of Yotle : 
When 1 haue fought with Ptmhrookc.iniVa fcllowts. 
He follow you, ond tell wh:t anfwer 
Lr»tsi^i the I.ady '5<j«*i IcnJ to him, 
Nowfoti-vvhilcfaiewell good Duke of YorVe. 
Thej lenJi him titt forcihly^ 

K.WWhat Fatei impofc.that men mud needs abide; 
Itbootinoitorefiftboihwindeand tide. £xt»ni. 

0-f. What nowtemainejtny LordifotYStcdo, 
But inarch to London with out Soldiers ? 

I^^r. I.ihii's the firft thing that we hauc to do» 
To free King //^r; from impi ifonment) 
And fee hitn feaicd in the Regall Tbtont. txit. 



Enter Kiiierf,aiitl Lfdj Cf*j, 

'KjD. Madam.Yvhat males you in this fodain change? 

Craj. Why Brother ^"fr;, are you yet.iolejine 
What late mufortune is bcfalne King Zd^irit 

Ri*. WhatlotreoffomepitchtbaticU 
AgJin(l«^«Trif(^f? 

Crij. No.but the lofleof hit owne Royall perfoB. 

Rm. ThenijmySoueraigne (lilne? 

Cr4]. I ilmoft naine.foi he tl taken prifoner, 
Either betrayd by filfliood of liii Guild, 
Or by huFoe furprii'datvnawarej i 
And as I further haue to vndei ftand, 
1 1 new committed to the Biftiop of Yotke, 
FcU VVarwickesBrqiher, andby thatour Foe, 

RiK. Thefe Newes I mnft confefle are full of greefe. 
Yet gncioUsMadaro, beareitasyou may. 
Watwickc may loote, that now haih wonne the day. 

G^^. Till (ben/aitc hope murt hinder liuei decay: 
And 1 thJrather waine me from difpalre 
For loue of £</3>W/ Off-fpiing in my wombe: 
Thii i$ it ih«t makei me bridle paffion. 
And beate with Mildntffc my misfortunes crofPc; 
1,1, for ihis I drawmmany ateare. 
And ftop the riling of blood-fucking (ighes. 
Leaf! with my (ighea or teares, I blart or drowne 
King £iA»«-i/Fiuite,tiueheytetoth'Ergli(hCrowne. 

RjH. ButMsdatD, 
Where is WarwUke then become? 

Craj. laiDlnfomi'dihathe conies towjrdi London, 
To fee theCtowne onei moie on Hnnei head, 
GuefTc chou the refl. King Eii»4irit Ftiendt mad downe. 
But to preuait the Tyrinu Tiolence, 
(For cnfiflot bim that htth oece broken Fairh) 
lie heacc foitbwitb TOCO tb^an^ary, 



To faue (it leafl ^the heire o{tii»4rJt tight : 

There (ball I refl fecure from force and fraud : 

Come therefore let vs flye.while we may flye 

If Warwick: sake V3,wt»trfure to dye. rttHtr. 

Cntir Richitri,tera Hufim^i ^tiid Sir ffiiiiM 
Stvlij. 

iJ/cA. Now my Lord Utfiimgi,tnA ^\t H-Htiem Sitnfn 
Lciue oft to wonder why I drew you hither. 
Into this cheefeft Thicket of ;he Park?. 
Thus (land the cife : you know our Kiog,njy Brothffi 
]» prifoner to the Biiliophere,at whofehaudi 
He hath good vfage,aiid great liberty. 
And often but attended with weakc guard. 
Come hunting this way to difport himfelfc. 
I haue aduettii'd him by fecretmeanes, 
Thst ifabout this houre he make this way, 
Vnder the colour of hit vfuall game, 
He ftiall hccre findc his Friend* with Horfe antJMeO, 
To fci hini free from his Cap liuitie, 

Siiir King EdvfMi, 4ifd4 Hntfmta 
uiih him, 

UmifmAt. This way my lord. 
For this way lies the Game. 

Ki"gUd». Nay this way rain. 
See where the Huntfmen fland. 
Now BroiherofClofler.Lord HaflingJ.andthereft^ 
Stand youthosdofc to rtcale iheBiChopsDetTC? 

Rkl). Brother.the time and C3fe,reqnirethhaftj 
Your horfe (lands ready at theParke-corner. 

KmjrEd. But whether ftiall we then? 

N.jft. To Lyn my Lord, 
And fhipt (rom thence to FijnderJ. 

T^ict.Wel gucfl beleeue me,for thltwas my meaning 

R.Ed. Sl.trUji,l will requite thy fotwatdnclTe. 

I^ch. Butwhcrefort flay we?tiinotiraetotalkc, 

K.td, Huntfman, what fay ft thou? 
Wilt thougoalong^ 

Hi"iif. Better do fo.then tarry and behang'd. 

Rich. Come then away.lets ha no mote adoo, 

K.Ed. Bidiopfar/iell, 
Shteld thee from ifarwickti frowne, 
And pray that I may te-poffclTe the Ctowne. txemt 

Elonrijh, Enter King Hnyythe/i.rt, C/trtrxt, H^armickt, 

Semcrfet.joimg Htnrj, Oxfurd, Mmnt/i^ii*, 

tud Lidte'iMt. 

R.ffin. M.Lieutenant,now that God and ttltndl 
Hauefhakcn £a'«>-irrffrom the Regall featt. 
And turn'd my captiue (late to llbertie. 
My fcare to hope,my forrowei vnto ioyes. 
At our enlargement what are thy due Fees ? 
Z,i;«.Subiei3i may challenge nothing of theii Sou taini 
But, if an humble prayer may preuaile, 
I then craue pardon of your Maieftie, 

K.Fftn. For whar. Lieutenant ? For well »(ing IM ? 
Nay .be thou fure,Ile well require thy kindneflit. 
For that it made my imprifonmcnt,t pleafure; 
I, fuch a pleafure,»i inctged Birds 
Conceiuejwhen after many moody Thought>j 
At laft.by Notes of HouOioldharmonie, 
They quite forget their loffeofLibeitie. 

q 



But 



i6S The thirdTart o/K^ng Henry the Sixt. 



But •'',»»«tf,iftei God.thou fec'ft me free. 
An J chiefcly therefore,! ihankc God,ind thpe, 
HewJstlie Author.thoa the Infttument. 
Therefore that I miy conquer Fortunes fpight. 
By lining loiv, where Fortune cannot hurt me. 
And that the people of thii blcffed Land 
May not be punilht with my thwarting ftjtres, 
gfATwickf ,a! though my Head ftill weare the Cto wiie, 
I here tefigne my Gouernment to thee. 
For thou art fortunaie in all thy deed . 

;r<ri». Your Grace hath ftill beene fiim'd for vcitUOUl, 
And now may feeme is wife ii Tcrtuous, 
By frying and auoiding Fortunes malice. 
For few men rightly temper with the Starrei : 
Yet in thu one thing let me blame your Grace, 
For chufing me.when CUrcnee is in place. 
' C/ar. No »r«ra'(ci;»,thou art worthy of the fwiy. 
To whom the Heau'nt in thy Natiuitie, 
Adiudg'd an Oliue 5tinch,and Lawrell Crowne, 
As likely to be bled in Peace and Warte: 
And therefore I yeeld thee my free confcnt. 

Iftrtr. And I thufe C/4r*«-^ onely for Protector. 
A'i»^.W<nr/ct^and C/4r*/irt,gine me both yout Hindi: 
Now ioync your Hands,!: with your Hands youi Hcaiti, 
That no dilTcntion hinder Gouernment : 
I malteyouboth Prote£Vorj of this Land, 
While I my felfe will lead a priuate Life, 
And in deuotion fpend my latter dayej. 
To (innes rebuke. and my Creators prayfe. 

iTurir. Whatanfweres Clvtnce to hii Soueraignet 
will / 

CUr. Thatheconfents.if B'^rw.f^fyeeM confent. 
For on thy fortune I tepofc my felfe. 

ir<ri». Why then, though loth, yet muH 1 be content: 
Wec'le yoike together, like a double (Viadow 
To Hiirici Body.and fupply his place ; 
I meane.in bearing weight of Gouernment, 
While he enioyti the Honor,and his eafe. 
And CUrinct,novi then it is more then needfull. 
Forthwith that Eiattrd be pronounc'd a Ttaytoi, 
And all his Lands and Goods confifcste. 

CUr. Whatelfe? and that SuccefTion be determined. 

Watxt, I.theremf/jT-Mrtftiall not want his part. 

KtB^. But with the fiirt,of all your chiefe affaire*. 
Let me entreat (for I command no more) 
That M^i'Tit your Queene, and my Sonne TEiatri, 
Befentfor.toreturncftom France with fpeed : 
For till I fee them here, by doubtfell feare, 
My ioy of libertie is halfe eclips'd. 

Clur. It fiiall bee done, my Soueraigne, with all 
fpeede. 

A'/Vif. My lord orSomerfet,what Youth is that. 
Of whom you feeme to haue fo tender care ? 

Somirf. My Liege, it is young Henry, Eatle of Rich- 
mond. 

King. Come hither.Englands Hope: 

L*jt' hu H^d Dnhu Hmi, 
If fc'cret Powcri fuggeft but truth 
To my diuining thoughn. 
This preitie Lad will ptoueourCountrieablifle. 
His Lookes are full of peacefull Maicnie, 
Hii Head by nature fram'd lo weare a Ctowne, 
His Hand to wield a Scepter, and himfelfe 
Likely in time to bleffe a Regall Throne : 
Make much of biro,my Lords ; for this istiee 
Mufl helpe you mote,then you are hurt by mce. 



EatiTdPiflt. 

Vtrv, What newrs, toy friend ? 

Fofi: That £i^»'<r<i is efcaped from your Brother 
And flcd(3shcchcares fince) toBurgunJie. 

\rtrtf. Vnfiuorienewes. but how made lie cfcape^ 

tclit. He was conuey'd by ^/f*ar<i,Duke of Glofter 
And the Lord H«/?m^/,who attended him * 

In fcctetambufn.ontheForrefl fiHe, 
And from the BilTiopsHuntfmen refcu'dhim: 
For Hunting was his dayly Eiercife. 

W«T». My Brother was too catelefle of hii charge. 
But let vs hence,roy Soueraignc.to prouidc 
A falue for any fore,thtt may betide. Zxtmt. 

KMMCt Ssn)trftt,Rifhmoiid,and OxfirJ, 

Sam.yAy Lord.I IiVe not of this flight of Edmards: 
For doubtle(re,'i?«r5«n,i» will yeeU him helpe. 
And we fhall haue more Wanes befori be long. 
As Hririii late prefaging Prophecie 
Did glad my heart.with hope of this young Rickmmi: 
So doth my heart mif-giue me, in ihefe Confln^s, 
What may befall him,to his harme and ours, 
Therefote.LordO.r/orJ.topreuenttheworft, 
Forthwith wee'le fend him hence to Biittaniff 
Till ftormes be paO of Ciuill Enmitie. 

Orf. I : for if Edvard re-poffeffe the Crowne, 
'Tis like that Richmnd^ymh the reft,(Vi.ill downe. 

Som. It fhall be fo: he (halt loBrittanie, 
Come therefore,leti about it Ipeedily, Exeunt, 

rleurijh. Enttr rJatrd, Richtrd, Hajlingt, 
And Stnlditrt* 

Eda Now Brother S/f A<«r^,Lord ffoJlin^r,ini the left. 
Yet thus farrc Fortune makelh ts amends. 
And fayes.that once more 1 (hall enterchange 
My wlined flate.for Htariti Regall Crowne. 
Well haue we pafs'd, and now re-pafsd the Sea», 
And brought defired helpe from Burgundie. 
What then remaines,we being thus artiu'd 
From Rauenfpurre Hauen.before the Gates of Yotk(^ 
But that we enter,as into out DukedoBie f 

Rich. The Gates made fad? 
Btother, 1 likenot this. 
For many men that Rumble ac theThtefhold, 
Are well fore-told, that danger luikes within. 

fi^w.Tufh man,aboadments (Hurt not nowafTrighcVS 
By faire oi foule meanes we mu(\ enter in. 
For hither will our friends repair e to vt. 

Hin, My Liege, ilcknocke onccmorc,to fummon 
them. 

Cntir <p» ihi U^dUi, the iMaicr tf Terif^ 
Hid hu 'Brethren, 

%^tA!sr. My Lord;, 
We were fore-watned of yourcomming. 
And rtiut theGatei,fot fafctic of our felues ; 
For now we owe alle geance vnto Henry. 

Edv. Bui.Maner Malor.if Henr^ be your King, 
Yet Edr>trd,u the IcaO.is Duke of Yoike. 

mUicr. True, my good Lord, 1 know you for no 
lefTe. 

Cdw Why, and I challenge nothing but my Dukedome, 
As being well content with that alone. 

Rieh But 



440 SOME ACROSTIC SIGNATURES OF 

Signature 176. 

This acrostic is found on the last page of The Tliird Part of 
King Henry the Sixt. (See p. 443.) 

We shall deal solely with the text after the word ' Flourish ' and 
the entry of the King, down to the word ' Finis.' 

Begin to read from the initial F of the word ^Flourish'' ; to the 
right; on all initials; downward; throughout the column and over 
into the next column; spelling Frauncis Bacon, you will arrive at 
the initial N of the word ' not ' in the line (tenth from the top) : — 

' For yet I am not look'd on in the world.' 

Now begin to read from the initial F of the word ' Finis ' ; to the 
right; upwards; on the initials of the words of the text; spelling 
Francis Bacon, you will arrive at the initial N of the same word 
' not ' in the line quoted above. 

I regard this as a weak acrostic, inasmuch as the word Frauncis 
is spelled Francis in the second acrostic half of the figure. But 
this is not a serious objection. The name was spelled with and with- 
out the U or V; and it was often spelled by Bacon with two small 
F's, thus, ' ffrauncis,' or ' ffrancis.' It is possible that the cipherer 
counted one V of aW, in which case the two sides of the figure 
would be precisely similar. 



FEANCIS BAC0:N' 441 

The acrostic figure here is : — 
Flourish 

« A 

u 

B 
A 

°0 

For yet I am Not look'd on, etc. 
O 

c 

A 

B 

S 
I 

c 

N 
A 
R 

Fmis 



442 SOME ACROSTIC SIGNATURES 

Signature 177. 

The text of this passage seems to have been played with also. 

Begin to read from the initial O of the word ' Once ' at the begin- 
ning of the passage after the word ^Flourish'' ; to the right; doAvn- 
wards; on the initials of the words, and over on the next eolnmn; 
spelling Onocab, you will arrive at the initial B of the word ' Boy,' 
in the line : — 

' Come hither Besse, and let me kisse my Boy.' 

Now begin to read from the initial F of the word 'For,' which 
begins the last line of the text; upwards; to the right; on the initials 
of the words of the text; spelling Francisconocab, you will again 
arrive at the initial B of the same word 'Boy'; thus keying the 
cipher. 

The figure seems to show how the sense of the text suggested 
the double entente which is apparent in the mechanism of the figure. 

The acrostic figure here is : — 

Once more we sit in Englands Royall Throne, 
N 

O 

c 

A 

Come hither Besse, and let me kisse my Boy. 

A 
C 
O 

I Scale vpon the lips Of this sweet Babe 
C 

s 
I 
c 

A 

R 

For hcere I hope begins our lasting ioy. 

Note that the verb ' Scale ' is spelled with a capital initial. 



\^% 



And fo I WH.whIch plainly (ignified. 

That I (ViouU fnarlc, and bite,and play the dogge: 

Then (ince the Heauf ns haue (lijp'd my Body fo, 

Let Hell make crook'd my Minde to anfwcr it> 

1 hauc no Brother, I am like no Brother : 

And this word [Loue] which Gray-bejids callDiuinf, 

Btrefidentinmenlikeone another,. 

And not in me : 1 am my felfe alone. 

C/4rf»«beware, thookeept'ft mefrom the Light, 

But I will fort a pitchy day for thee : 

For I will buzze abroad fuch Proph cfies, 

That EJirWfhallbefcarcfull of his life, 

And theniopurgehisfcare, Ilcbethy death. 

King Henry, and the Pi incehis Son are gone, 

CUrince thy turne is next, and then the reft, 

Counting my felfe but bad, till I bebcfl. 

Ilethrow thy body in another toomc, 

AndTiiumph f/eur/.in thy day of Doomf. £xit. 

Floiirijh, Enter King,Quicm,CUreiict,IiichAri,Hiiflii>p, 
^urfe^tini tyiitendAtitj, 

King. Once more we (it in Eoglands Royjll Throne. 
Re-purchac'd with the Blood of Enemies : 
What valiant Foe-men, like to Autumnet Corne, 
Haue wemow'd dovyneintopsofall their pride t 
Three Dukes ofSomerfct, threefold Rcnowne, 
For hardy and vndoubted Champions : 
Two Cliffardi,it the Father and the Sonne, 
And two Notthumbcrlands : two brauer men, 
Ne'refpurr'd their Courfets at the Trumpets found. 
With ihem, the two htaue Beatcs,W-im!<fi; & Moniagui, 
That in their Chainesfetter'd the Kingly Lyon, 
And made the Forreft tremble when tlicy loar'd. 



The thirdTart o/Kjpg Henry the Sixt 



Thus haue we fwept Sufpjtioa from out Seate, 
And made our Footftoole of Security. 
Come hither 'Bef:, and let mekiffemy Boy ! 
Yong Nid, for thee, thine Vncklet.and my fe Ifr, 
Haue in our Armors watc he the Wimeri night. 
Went all afootein Summers fcalding heate, 
That thou mij^ht'drepoflelTe the Crowne in peact, 
And of our Labours tnounialireapethegaine. 

Rich. He blaft his Harued, if your head were laid, 
For yet I am'not look'd on in the world. 
This fhoulder was ordain'd fo thicke, tohMue, 
And heaue it (hall fome waight, or bttake my backe , 
Worke thou the way.and that (halt execute. 

King. C!,irence>nd Cbjlcr,\ove my loucly Qucenf, 
And kis your Princely Nephew Brothers both. 

CU. The duty that I owe vnto yout Maiefly, 
I Scale vpon the lips of this fweet Babe, 

Ch. Thanke Noble C/rfre/i«,wotthy brother thanks. 

Tt^ch. And that I louc the tree fro whence J fprang'tl ; 
WitnelTe the louing kilTe I giue the Fruite, 
To fay the uutbjfo ludm kill his maftcr. 
And cried all haile.when as he meant all harmc. 

King, Nowam 1 feated at my foule delights, 
HauingmyCounttie«peace,and Brother* louei, 

C/4. What will your Gtacehauc done with il/<rj4rf/, 
Rt^nArdhex Faiher.to the King of France 
Hath pawn'd the Sicils and leiufalem. 
And hither haue they fent it for her ranfome. 

King, Away wiih her, and waft her hence to France: 
And now what rcQs, but that we fpend the lime 
With fiately Triumphf s, minhfull Comicke (hewes. 
Such as befits the plealureof ihe Court. 
Sound Drums and Trumpets, farwcll fowre annoy, 
For heerel hope begins out lading ioy Bxiutit omnei 



FINIS. 




444 SOME ACEOSTIC SIGN^ATURES 

Signature 1 78. 

This acrostic is found on the first page of The Tragedy of Richard 
the Third. 

Begin to read from the initial B of the word ' Brother,' which is 
the first word of the last line of the first column ; upwards ; on the 
capital initials of the first words of each line; spelling Bacono, you 
will arrive at the capital O at the upper right hand of the large 

^ ; thus keying the acrostic from bottom to top of the first 

column of the same sized capitals. 
The acrostic figure here is: — 



N 



Ow is the Winter, etc. 



N 
O 
C 
A 

Bi-other, good day: etc. 

It is also worth observing that if you begin to read from the 
initial B of the word ' Brother,' which is the last word of the text of 
the second column; to the right; on the outside letters of the text 
of the page; upwards; spelling Bacono, you will again arrive at 

the capital O, next to the large capital (^ 

Again, begin to read from the initial B of the word ' Brother,' 
which is the last word of the text of the second column; to the left; 
on the outside letters of the page; upwards; spelling Bacono, you 

will again arrive at the capital O, next to the large capital fV 

The name is thus keyed to the same point in three routes, from 
the capital B of the word ' Brother,' at the left-hand bottom corner 
of the first column, in the one case; and at the right-hand bottom 
corner of the second column, in the second place; and in each case, 
on the outside letters of the text of the page. 



17\ 




The Tragedy of Richard the Third : 

with the Landing of Earic Richmond, and the 

Battell at Bofworth Fields 



aAUui Trimm, Scana Trima. 




Enter ^icbtrd Diikt ofClcJlerJilHt. 

Ow is the Winter of our Difcontent, 
Made glotioutSummet by this Son ofY'oiIce: 
Andallthedoudsthatlowr'd vponour houfe 
In thedeepe bofome of the Ocean buried, 
Kov» are out btowej bound with Viiloriou* Wieathes, 
Our btuifed armes hung vp for Monuments ; 
Our flerne Alarums chang'd to merry Meetings ; 
Our drcadfull Marches, to dehghtfuUMeafures. 
Grim-vifag'd Warre.tiath fmooih'd his wrinkled Front: 
And now, in (lead of mounting Barbed Steeds, 
To fright the Soules of fearful! Aduerfarict, 
He capers nimbly in a Ladies Chamber, 
Tothelafciuious pleafingofa Lute. 
But 1, that am not fhjp'd for fpoitiuc tticles. 
Nor madetoeouttan amorous Look ing-gl afle : 
I, that am Rudely fiampt, and want loues Maiefty,, 
To ftrut before a wonton ambling Nymph : 
I, that am curtail'd of this faire Pioportlon, 
Cheated of Feature by diflembling Nature, 
Deform'd,vn.fini(li'd,fent before my time 
Into this breathing World, fcatfchalfc made vp. 
And that fo lamely and vnfaAiionable, 
That dogges barke at me, as 1 halt by them. 
Why I (in this wcake piping time of Peace) 
Haue no delight to palTe away the time, 
Vnleffc to fee my Shadow In the Sunne, 
And deftant on mine owne Deformity. 
And therefore, fince I cannot proue a Louer, 
To enteitaine thefe faire well fpoken da^et, 
I amdetermined toprouea Vlllaine, 
And hate the idle pleafures of ihcfedayes. 
Plots haue I hide, Indoflions dangerous, 
By drunken Prophefies, Libels.and Dreames, 
To fet my Brother Clarence and the King 
In deadly hate, the oneagainft the other 1 
And if King Cdmnrdhe as true and iuft,. 
As I am Subtle, Falfe,and Treacherous, 
This day (Viould Clarence clofcly be mew'd vp: 
About a PropSefie.which fayes that G, 
OfEdoPArdi heyres the murtherer fhall be, 
Diue rhoughts downe to my foule.here CUrerce comes. 

Snter CUrenee,aiid'BTakril!iiTy,guariei, 
Btothtr.good day :Whatmeanes this armed guartl 



That waitcs vpon your Grace { 

Cla, His Maiefty tendring my" perfons fafctjr. 
Hath appointed this Conduft.to conue^ me to ihTowct 

Rich. Vpon what caufe ? 

C/j. Becaufemy nameisCJfOT^e. 

T^fi. Alacke my Lord,that fault is none ofyours : 
He rfiould for that commit your Godfathers, 
O belike, his Maiefty hath fome intent. 
That you iJiould be new Chriflned in the Tower* 
But what's the matter C/.irm«,may 1 know ? 

Cla. Yd Ricbard,'fihen 1 know : but Iprpteft 
As yet I do not: But asl canlearne. 
He hearkens after Prophcfies and Dreamet, 
And from the CrofTe-row pluckes the letter G ;• 
And fayes.a Wiiatd told bim.that by G, 
His i(Tue difinherited fhould be. 
And for my name ofCior^e begins with G, 
It followct in his thought, that I am he. 
Thefe (as I learne)and fuch like toyes as thefe. 
Hath moou'd his Highnefle to commit me now, 

Kieh. Why this it is.when men are rul'd by Women 
'Tis not the King that fends youto the Tower, 
My Lady Cry his Wife, CAjr«rf 'tis fliee. 
That tempts him to this hatrti Extremity. 
Was it not fhee, and that good man of Wojftiip,. 
ylathottiiiyoiidiKlle her Brother there. 
That made him fend Lord H'flingt to the Towel } 
From whence this prefent day he is deliuered ? 
We arenot fafe ^iarence, we are not fafe. 

CU. Byhcauen,! thinkethcreisnomanfecure 
ButtheQucenesKindred,andnight-walkingHenld(, 
That trudge bet whtttheKing, and Miftris^iirorr, 
Heard you not what an humble Suppliant 
Lord Haflinp was,for her dcliuery ? 

Rich. Humbly complaining to ha Deltie, 
Got my Lord Chambeilaine his libertie. 
He tell you what,I thinke it is our way, 
If we will keepein fauour withthe King, 
To be her men.and weare her Liuery . 
The iealous ore-wotne Widdow,and her felfe, 
Since that our Brother dub'd them GentlewomeD, 
ArcmightyGofsips in our Monarchy. 

Bra. ibefeechyourGracesbothtopardonme, 
His Maicrty hath ftiaighcly giuen in charge. 
That no man (hall haue priuatc Conference 
(Of what degree I'oeuer) with your Brorher. 
5£*-| 



446 so:me acrostic sigxatures of 

Sigiiature 179. 

This acrostic is found iu the ' Prologue ' to The Famous History 

of the Life of King Henry the Eight. 

IN^ote that the initials of the last two words of the first two Unes 

T X - , , J Thin2;s now 

are c tj or the words o • t> 

b ±> berious iJroAv. 

Here we have for ciphering purposes the S T X B, or, if you will, 

XBST. 

We shall deal only with the first column of the ' Prologue.' 
Xote that the letters S T are the first and the last letters of the 
phrase ' Saint All)an Invenit.' 

Begin to read from the initial T of the word ' Things'; to the 
left ; do^vu wards ; on the initials of the words of the text ; through- 
out the block of type and back again; spelling Tlnevni Xabla 



Tnias, using the large ornamental 



I 



as common to the three lines 



which it covers; you will arrive at the initial S of the word 
' Serious.' 

The acrostic fisru-e here is : — 



V 



^^I_ Things ^^ 

E^ Serious Brow 

\ 



FRANCIS BAC0:N^ 447 



I regard this as a ' weak ' acrostic, as the large ornamental 



IS 



used to cover two lines. 

It is worth remembering that the author of The Arte of English 
Poesie (Arber's edition, p. 123) says that H is hut a note of aspira- 
tion and no letter. If therefore he has treated the letter H in the 
word 'high' (in the third line) in this way, the acrostic wiU be found 



complete without using the large initial 



twice over. 



It is also worth observing that the first two lines contain an 
acrostic, for if you begin to read from the letter N of the word 
'now,' to the left; downwards; on the terminals of the words; 
sp>elling Noc'AB, you will arrive at the initial B of the word ' Brow.' 

Then begin to I'ead from the initial B of the word ' Brow'; to the 
left; upwards; on the terminals of the words; spelling Bacoj^, you 
will arrive at the initial N of the word ' now.' 

The acrostic figure here is : — 

IS^ow 
O 
C 
A 

Brow. 



448 



SO^IE ACROSTIC SIGXATUEES 



Signature ISO. 

Begin to read from the initial capital B of the word ' Beyond,' at 
the lower right-hand corner of the page; to the right; up through 
the two columns of the Actus Primus; on all the capitals of all the 



words : 



word 



spelling Bacono, you ^vill arrive at the capital O in the 
Ood. 



G 



The acrostic figure here is: — 

Ood morrow, and well met. 



G 



o 



Beyond. 



105 




The Famous Hiftory of the Life of 

King HENHY the Eight. 



TnST%OlO<jVS. 




Coment more le mukejuu Uogh ^Things tiDW, 
J'hal teare i Wi:ght-^^tnA t Srrioui Brow, 
Stid,high,andftirkingJuUtf SUHandiVit: 
Such Ntblt Sccenti, atdrarrth( Eje to floa 
WettfWprifint. Thefr thai can Pitty^htre 
May (ifihej thinkiit vellj let fall a Tetre, 
The Subuii willdtferueit. Such ngiut 
Their Monty out of hope thry may beletue, 
Mif hftrefinde Truth tot. Thofe thdt comt lojtt 
Otely tpioxoor two, tndfii 'gree, 
Tht Fit) ma-j faff e : if the] yejiili.aniwillirig^ 
Ilevndtrtakemij fee nrny their fhiUing 
R chij in tnofhort houres. Onelj liey 
Thdi come te heart a Merry, Baady Play, 
A nojfe of Tor get i : Or to fee a Felhvo 
Jn along Motlej Coate^gtrdedwith Telloxo^ 



Willbedeceyu'i. {or gentUHeartrs^linoro 

To rattke our chcfen Truth with fuch ajhoto 

Ai FitU,and Fight U, beftde forfejtlng 

Our owne Brmnes.and the Opinion that rsihm^' 

Te make that oittty true^ we now intend. 

Will leaue vs niuer an -vnderflanding Friend. 

Therefore^for Coodneffe fake .find ai yeu are kntwnC 

The Fi'Jl and Happiell Hearer s of the Tcane, 

Be fad, a roe aouldmaieye. Th inheye fee 

The very Per font of our Noble Story.^ 

Ai ihey were Lining : Thinkejoufee them Great, 

^nd follow' daiih the generallihreng^andfweat 

of thoufand Friends : Then, in a momentyjie 

Howjoone thii Mightineffe, meets Mifery : 

And if you tan be merry then. He fay, 

A Aian m ly fveepe vfon hu Wedaing day. 



dyftlus Trimus. Sctena T^rima. 




Enter the Vukc ofNorfolke at cnedoore. At iheotber, 

(he Duk.e "fBueki'ignam, aidtheLird 
jiburgauenny, 

Buckjigbam. 
Oodmorrow.and well met. How haut ye done 
"incc laft wt faw in France ? 

Norf. Ithanke your Grace: 
Healthfull.and cuci linctafrcfh AdmitCT 
Of».tiatIfawtherc. 

"Buck; AnvntimelyAgue 
Staid me a Prifontr in my Chambtr.Mrhtn 
Thofc Sunncs ofGlory.ihcfetwo Lights ofMen 
Met in the vak of Andten. 

Mar. 'TwixtGiiynciand Arde, 
t wat then prefenr, fjw them fsiuie on Hotfebackfj 
Beheld them when they lrf.hted, how they clung 
In their Embrjcement,3s they grew together. 
Which had they, 

Wh«t foure Thron'd cnes could hsue vstigh'd 
Such • cpmpounded one ? 

Bixk. All the whole time 
I wai my Chambers Prifoncr. 



\ 



Ncrr Then you loft 
The view of earthly glory Men mighi fay 
Till thii time Pompc was fingle. but now mjrnei) 
To one aboueit fclfe. Each following day 
Became the ncxtdayes mafler, till the laft 
Made former Wonderj, It's. To day the French, 
All Clinquant all in Gold, like Heathen Gods 
Shone downe the EngliOi; and to morrow, they 
MadeBritaine, India : Euety man that Oood, 
Shew d like a Mine. Then Dwaifilh Pages were 
As Cherubint, ill gilt : the MadaiDI loo. 
Not vs'd to toyle, did almoft fwe« tobnte 
The Pride vpon them, that their »cry labour 
Was to them.ti a Painting. Now this Maike 
Was cry deincomp:ireable ( and th'enfuing night 
Made it aFoole.andBegger. TheiwoKinge 
Eciuall in luftre,were now bed, now worft 
Asprcfence did prefent them .HimineyCj- 
Still him in praife, and being prefent both, 
T was faid they faw but one, ind no Difcemer 
Durft wagge his Tongue io cenforfv when thefeSunnU 
I For fo they phtafe 'em) by theit Heralds challen^d 
The Noble Spiriu to Airrm, they did ptrfonnc 

t i Bey pad 



450 SOME ACROSTIC SIGNATURES OF 

Signature 181. 

This acrostic is found in the last page of The Life of King Henry 
the Eight. (See p. 453.) 

Note that the initials of the last two words of the last two lines of 

the fii'st column are -c\ of the words n ,• i 

Begin to read from the initial F of the word 'flourish'; to the 
left; upwards; throughout the column and back ; on the initials of 
the words; spelling Frauncis Bacon, you will arrive at the initial 
N of the word ' Name.' 

Begin to read from the same initial F of the same word 'flourish'; 
to the right; upwards; throughout the column and back; on the ini- 
tials of the words; spelUng Frauncis Bacon, you will arrive again 
at the same initial N of the word 'Name'; thus we key the cipher 
by reading it in two directions. 

The acrostic figure here is : — 

^ S- 



/ 



{ 

\. o 



/ 

Name 
Flourish 

Note that in this play page 216 is A^vrongly numbered 218. I can 
see no acrostic in it. 



I 



FRANCIS BACON 451 

Signatui-e 182. 

This acrostic is found in ' The Epilogue' on the last page of The 
Life of King Henry the Eight. (See p. 453.) 

Begin to read from the initial T of the word ' The ' (' The Epi- 
logue'); to the right; downwards; through the whole 'Epilogue'; 
on all the letters of the words; spelling Tus'evni Nocab Are (Fra 
Bacon invenit), you will airive at the initial F of the word 'Finis.' 

The acrostic figure here is : — 

The Epilogue 
I 

E 
V 

I 

O 
C 
A 
B 
A 
R 
FINIS. 



452 SOME ACROSTIC SIGNATURES 

Signature 183. 

This acrostic is found on the last column of the last page of The 
Life of King Henry the Eight. 

Beffin to read from the terminal S of the word ' branches,' which 
is the last word of the first line; to the left; downwards; on the 
terminals; spelling Saint Albanocabsicnarff, you will arrive 
at the initial F of the word ' Fmis.' 

The acrostic figure here is: — 

And like a Mouutaine Cedar, reach his brancheS 

A 
I 

T 
A 
L 
B 
A 
Thou hast made me Now a man, neuer before 
O 
C 
A 
B 
S 
I 

c 

N 
A 
R 
F 
FINIS 

Observe that in reading this acrostic, the words ' The Epilogue ' 
are common to both columns, and are therefore counted as a line here. 



I 



21^2 



Holy tnd Hetucnly thsughw ftill Counfell Iwr i 

She (hall be lou'd and fcar'd. Hei owne (hill blcSc htrj 

Het Foesfhike likea Field of beatenCoine, 

And hang theit heidj wichfortow : 

Good grovves wUh her. 

In her djyes, Eucry Man (hall eate in fafety, 

Vnderhisowne Vine what he planet; and fiiig 

The merry Songj of Peace to all his Neighbours. 

God (hall betrucly knownc, and thofe aboui her. 

From her (hall read the perfeit way of Honour, 

And by thofe claimc their gtcatneffeinot by Blood. 

Nor (hall thii peact fleepc with her : But ai when 

The Bird of Wonder dyes, the Maydeii Phoenijt, 

Her A(hei new create another Heyre, 

As great in admirat^ion as her felfe. 

So (hall (he Icaue her BleirednelTc toOnc, 

( W hen Heauen (hal call her from this dowd of darknet) 

Who.from the facred Afhcs of her Honour 

Shall Star-tike rife, as great in fameas(hcw3i. 

And fo ftand (ix'd. Peace, Plcniy.Loue, Ttuih.Terror, 

That were the Seruants to this chofen Infant, 

Shall then be his, and like a Vine grow to him ; 

Where cu«f the bright Sunne of Heauen (hall fliine, 

Hi« Hoaour,and the gteatnelTe ofhii Name, 

Shall bCjaDdraakcaew Nations. HeQiallfiourilh, 



The Life of King Henry the Eight, 



And like • Mountaine Cedir.'rrwh hii branches, 

To all the Pliinei about him ; Oui Children j Children 

Shall fee this,and,blcfi« Heiucn. 

Km. Thou fpeakeH wondera. 

CriH. She (hall be to the happioe(re of England, 
Anage<fPrince(re; many dayesfhall feeher. 
And yet no day without i deed toCrowne it. 
Would 1 hadknowneno more: But fhcmufldyc 
She mull, the Sainti mud haueher;, yeta Vjrgio 
A moftvnfpotted Lilly (hall (hepafle 
To th' ground, and all the World (hall mourne het. 

Lrn, O LoidArchbi/liop 
Thou haft made me now a man, neuetbefoie 
This happy Child, did I get any thing. 
This Oracle of comfort, ha's fo pitis'd me, 
Thatwhen lominHcauen,! (hall dcfire 
To fee what ihis Child does.aod piaife my Maker. 
I thankeyeall. Toyoutny goodLoidMaior, 
And you good Bccihren, I am much bclioldmg ^ 
] hauereceiud much Honour by your piefcnce, 
Andye (hall find me ihankfull. I ead the way Lords, 
Ye muft all fee the Queene, and (lie mud ibanke ye. 
She willbcfickeels. Thisday, ndnianthinke • 
"Has bufinelfe at his houfe; for all (hall ftay: 
This Litile-One (hall make it Holy-day. Sxexnt. 



The Epilogve. 



Til telle mi, ihi) Play eu tieMer fletji 
.Altihtt IPC htert : Some nnu inakflheirtifi, 
jindfltefe an jiO erCfvo; dttt thvfe wtfeare 
iy*ka9efrtgh:ed with sht Tnmpeti ; fo 'tii cltAtt^ 
Tlitjlftj III naught . Others lohmre the CilJ 
Aifii extrcAinl} ,*tni locrj that's tfittj, 
ffbicb wti hiuu not imi miiber; ibti Ifetr* 



jiStheexfet}eigotdif'»relikf tohttn» 
for thu Ptaj at iht4 lime, is ottel^ in 
The mere if hU conJIruBion of good tromem^ 
F^r fuchaotewefhcw'd'em: Iftheyfrniit^ 
Afii fa) twill doe-^ I k^ofo wirhim a white, 
^Itiheiffl nunareoiiri\for'tii illhapt 
Ifihey hold, when their Ludieibid 'im eUf. 



"FINIS. 




— Ji 



454 SOME ACROSTIC SIGNATURES OF 

Signature 184. 

While we are dealing with Henry the Eight, we may as well notice 
a very pretty example of a cipher, thrown into a song. It occurs on 
page 218, in the 'Song' which stands in the left-hand column. 

Note the plan of the initials : — 

kRpheus 
'And 
Bow 



0\ 



Fall asleep, etc. 

Begin to read from the initial F of the word ' Fall,' which is the 
first word of the last line; to the right; on all the letters of all the 
words; upwards; spelling Francisco, you will arrive at the letter O 
in the word ' Billowes.' Continue to spell from the O of the word 
' Billowes ' ; still going upwards ; spelling Onocab, you will arrive at 

the B of the word ' Bow,' which is immediately under the large I 1. 



0] 



FEANCIS BACON 455 

The acrostic figure here is : — 

Bow themselves, etc. 
A 
C 
O 
N 
BILLOWES 
C 
S 
I 

c 

A 
R 
F 

Ora Francisco Bacono. 

Latinists may possibly object to this reading; in which case they 
may amuse themselves by discovering the word ' pro,' which is in the 
first three lines of the poem. 



o 



456 SOME ACROSTIC SIGNATURES 

As we shall have other specimens planned like this, we may as 
well give the song in its detail : — 

rpheuswithhislutemadetrees 
'andthemountainetopsthatfreeze 
bowthemselueswhenhedidsing 
tohismusickeplantsandflowers 
euersprungassunneandshowers 
therehadmadealastingsprixg 
euerythingthatiieardhimplay 
euenthebillowesofthesea 
huxgtheirheads&tiienlayby 
insweetmusickeissuchart 
killingcare&griefeofheart 
fallasleepeorhearingdye 

The letters under which I have placed a mark are those of the 
cipher. 



•zi8 



JBusTertius. ScenaTrima. 



The Life o/K^g Henry the Eight, 



Qurcn. Take thy Lute wench. 
My Soulegrowes fid with tioubJci, 
Sing.jnd difpsrfe 'em if thou cmft: leaue working: 

Song. 
iRphtUiwiih his Li'tenudeTnii, 
* Jind the Momitsme tops thdt frtetx, 

S«)r ihimftluei ahtn he did (trg 

fshu Mufcks, PUtii! and Fhwcri 

hutr fprufig ; at Sun^je Mnd Showers, 

There hud mide a Ufiuig Sfritg, 

Entry thoigthat beitrdhim fit}, 

Eutn the Biioteei cjihe SeJ, 

fiung their heiidi,& then Ujbj. 

/nfweet Muftckt ufuch Art, 

T-ilii"!, <■«", O'irufe of heart, 

fall ijleeft, or hearing dje. 

Liter 4 Genllemai, 
• SS""- ViO'f) now f 

Ctxt. And't pleife your Crjcc.the two great Caidinals 
Waltintheprefence. 

£l»een. Would they fpc jlte with me ? 
Cent, They wil'd me fay (o Madam, 
Qjieen. Pray their Graces 
To come neece.- what can be their bufines 
With rjic, a poore weake womaii.fsinc from fauout ? 
I doe not like their coinming; now Iihmkeon't, 
1 hey fliould bee good men, their a£F,iiiC9 ai righieoui • 
ButaIlHood5,makeiiot Monkej. 

Snter the Itro Cariimlli, Wo/fej (j- Cumfian. 
Wolf, peace to your HighnclTe. 
Qmen. Your Graces find roe heere part of a Houfwifc, 
( [ would be all) againft the word may happen : 
What are your pleafures with me,reuercnt Lordj ? 

a^el May It pleafe you Noble Madam, to withdraw 
Into your ptiuate Chatnber ; we (hall giue you 
Thefulleaufeofourcoraniing. 

^Ijuen. Speakc it heere. 
Thete'a nothing I haue doneyet o*my Confcience 
Deferuei a Coiner : would all other Women 
Could fpeake this with as fiee a Sonle as 1 doe. 
My Lords,! cate not ( fomiich 1 amhappy 
Aboneanumbcr) if my actions 
Were trt'de by eu'ry tongue,eu'ry eye faw 'em, 
Enny and bafc opimon fe t agamrt 'em, 
Iknowmylifefoeucn. Ifyourbufinej 
Scekc me out, and that waylam Wife in ; 
Out with It boldly . Truth lolies open dealing. 
^arrd. 7 ant a tfl erga te'mentu ertegrttu Regt»afcreni(ftma. 
Qiteen. O good my Lofd,no Latin ; 
I am not fucha Ttu-intfince mycomming, 
As not to know the Langingcl liaueliu'din : (out : 
A fltangc Tongue makes my caufe more Orange, fufpiti- 
Pray fpeake piEuglifh ; heere ate fome will thanke you. 
If you fpeake ttuih, for their pooreMiflris fake; 
Beleeue nie fhe ha's had much wrong. Lord Cardinal), 
The willing'fl fiune I cuer yet committed. 
May beabfolu'din Englifii. 
Citd. Noble Lady, 



lain forry my irvteg'iiyJVioul breed, 

(And feruice to hu Maiefty and you) 

Sodecpe fufpiiion, where all faith wai meant; 

We come not by the way of Accufation, 

To taint chat honour euery good Tongue bUffes; 

Nor to betray you any way to forro*; 

You haue too much good Lady : But roknow 

How you lUnd minded in the waighiy diflctence 

Beiwecne the King and you, and to deliuei 

( L ikc free and honcft men) out lud opmiont. 

And comfortstoourcaufc. 

C4w^,-Mort honour d Madam, 
My Lord of Yoike, out of hu Noble nature, 
Zeale and obedienec hcflillboreyourCrace, 
Poigetting (like a good man) your laicCcnfurc 
Boih of his tiuth and him (which wa» toofaric) 
Offers, as 1 doe.ina figneof peace. 
His Seruice, and his Counfcll. 

Q^en. To betray me. 
My Lords, I thanke you boih for your good wills, 
Ye fpeake like honeft men, (prayGodye prouefe) 
Bui how 10 make ye foHainly an Aiifwcre 
In fuch a poynt of^weight, fo necrc mine Honour, 
(Moieneciemy Life I fearc) wtthmy weake wiij 
And to fuch men of grauity and learning; 
In truth I know not. 1 was frt at worke. 
Among my Maids, full liide(God knowci)lookiog 
Either for luchmen,or fuch bufineffe; 
For her fakethat Ihaue bcenc, for) fcele 
The laft fit of my GrcaincfTe ; good your Cracet 
Let mc haue lime and Councell formyCanfc: 
Alls. lam a Woman frendlclTe.hopeleffe- 

ly^ol Madam, 
You wrong the Kings )ouc v.ith thcfe featet. 
Your hopes and friends are Infinite. 

Queen. )n England, 
Cut little for my profit can you thinke Lords. 
That any Englifh man dare giue me Councell? 
Or be a knowne fiicnd gamf^ his Highnes plcafure, 
(Though he be growiie fo defperate to be honeff) 
AndlmcaSuSicil ? Nay foifooth, my Friends, 
They that mufl weigh out my alf)lid^ioiii. 
They that my trurtmuff grow ro.liue not heere. 
They are (as all my other comforts) fat hence 
InmineowneCouniicy Lords, 
Curnf. I would youi Grace 
Would leaue your greefes.and taten)»Coijnfe!l, 
^ueen. How Sir.' 
Cimp. Put your maine caufe loto the Kings protection, 
Hec's loume and niofl gracioui- ' fwill be much. 
Both for your Honour beiter.and your Cauiic : 
For if the tiyall of ihe Law o'reiake ye, 
You'l parr away difgrac'd. 
IVol. He tcU you tightly. 

^iirtn Ye tell me what ye winirotboth,n>y mine : 
Isthis youtChriftianCouncell? Outvponye. 
Heauen is aboue al) yet ; there fits a ludge. 
That no King can corrupt. 

Cdmp. Your rage miftakeivt.' 

^Keen. The more fli ame for ye;hoIy men I thought ye, 
Vpon mv Soule two reuerend Cardinal) Venues: 
But Cardinall Sins.and hollow hearts I feare ye . 
Mend em for (hame my Lordi : Is this yiut tomfottf 
The Cordiall that ye bring a wretched Lady ? 
A woman loft among ye, laugWi it, fcotnd? 
I willnot winiyehilfcmyoiifciies, \ 



458 SOME ACROSTIC SIGNATURES OF 

Signature 185. 

These acrostics are found in the ' Prologue ' to The Tragedie of 
Troylus and Ci-essida. (See page 461.) The page bears no page- 
number. 



IKT 



Note the cluster of capitals at the top left-hand : XT 

H 

Here is the word HINT plain enough, if the letters are read in a 

N . . . 

circle thus, I tt T, which is their order from a decipherer's point of 

view. 

Note that this cluster of capitals is in the indent of the type. 

Note that the initial F of the word ' Fi'aught ' is the first initial of 
the full lines; and that the initial of the first word of the last line is 
the initial N of the word ' Now.' 

Begin to read from the initial F of the word 'Fraught'; to the 
right ; downwards ; on the initials of the words ; spelling Fravxcis 
Bacox, you will arrive at the initial N of the word 'Now,' which is 
the first word of the last line of the text. 



FEANCIS BACON' 459 

The acrostic figure here is : — 

INT 
T 
H 
Fraught with, etc. 
R 
A 
V 
N 
C 
I 

s 

Beholders 

A 

C 

o 

Now good, or bad, etc. 



460 SOIVIE ACROSTIC SIGNATURES 

Signature 180. 

Begin to read from the large initial I at the head of the text ; to 

the left; downwards (note that the I brackets the two top lines); on 
the initials of the Avords; spelling Invenit F Bacon, you will arrive 
at the initial N of the first word ' Xow ' of the last line. 

Note that the initials of F Bacon fall on the initials of the words 
('faire Beholders') which are in brackets, sixth line from the bottom. 

Here the acrostic figure is : — 

INT 
T 
H 

N 

V 

E 

N 

I 

T 

Faire 

Beholders 

A 

C 

O 

Now good, etc. 



I 



The Prologue. 

IKTroy there lyes the Scene : From Ues (f Greece 
The Trine es OrgiUom, their hi^ hlood chafd 
Haue to the Tort of Athens fent their Jhlppes 
"Fraught with theminijlersandinjlrumertts 
Ofcruell Warre : Sixty and nine that wore 
Their Qrownets T^e^all^from th' Athenian hay 
^ut forth to'^ard Thrygia^ and their <voTi> is made 
To ranjacke Trqjfj^ithin whofejlrong emnres 
The rani fh'dHclcn, Menelaus Queene, 
With wanton Pax'isJleepeSy and that's the QuarrelL 
To Tenedos they come. 
And the deepe-draii^ing 'Bark.e do there dijgorge 
Their "Warlike fr ant age : now on Vardan Tlaines 
Thefreff andyet njnbruifed Greekes do fitch 
Their hraue Tauillions.'PihmsJix^atcd Qty, 
Dardan andTimhrla, Helias, Chetas, Trolen^ 
And Antcnonidus "Pfith mafsie Staples 
Andcorrejponjiue and fulfilling !Bolts 
Stirre <vp the SonnesofTroy. 
NoTJj ExpeElation tickling skittijh [fiirits. 
On one a?id other fide, Troian and Greeke, 
Sets a II on ha:^ard. And hither am J come, 
A Trelogue arm'd, but not in confidence 
Of Authors pen, orAflorsvoyce^ hutfuitei 
Jn like conditions, ds our Argument; 
To telly ou (faire ^Beholders) that our Tlay 
Leapes ore the ruaunt andfrjllings ofthofe hroyUs, 
beginning in the middle iftarting thence ali^ay. 
To what may bedigefkd in a Tlay : 
Like, or finde faulty do ofyourpka/iires are, 
7>lpw^ood;iOr bad, 'tis bnt the chance of Warre, 



462 SOME ACROSTIC SIGNATURES 

Signature 187. 

This acrostic is found in the left-hand cohimn of the last page but 
one in Troylus and Cressida. This page faces the last page of the 
play. 

Begin to read from the initial B of the first word of the first line 
of the column; down the column on the initial capitals of the first 
Avords of the lines ; spelling Bacono, you will arrive at the initial O 
of the first word of the last line. 

The acrostic figure here is : — 

Before the, etc. 

A 

C 

O 

Or bring, etc. 

Observe that if you begin to read from the initial B of the first 
word of the first line in the column; to the right; downwards; on 
the capitals of all the words (text and stage-directions); spelling 
Bacono, you will arrive at the initial O of the first word of the last 
line. 

Observe again, that if you begin to read from the initial O of the 
first word of the last line in the column; to the right; upwards; 
on the capitals of all words (text and stage-directions); spelling 
Onocab, you will arrive at the initial B of the first word of the first 
line in the column. 

We have here the name Bacono keyed to and from the same 
points by three routes in the same column. 

The acrostic figure will be the same in each case. 



Troylus and Crefsida, 



Before the belching Whale ; then U he yonder, 
And there ihe flraying Greekes, ripe for his,edgCj 
Fall downcbcfore him, like the mowers fwaih ; 
Heie,ihere,and euery whcrc.he Icauci and rakes-; 
Dexteritie fo obaying appeiiie, 
Thu what he wilhhc docs.and doeifo iiiuch. 
That proofc is call'd impofIibiIi(y> 

EntcrVlilftt. 
Vlif. Oh,eourage,<ouragcPrin«f : gteit j^chilUs 
Isataiiiig,wecping,cur(ing, vowing vengeance; 
Pairoclm wounds haucrojjz'd liisdrowziebloud, 
Togciherwiihhis mangled Afjrmidont, ' 
That nofelcn'c.handJcfl'c.hackt and chipt.come 10 Iiim ; 
Crying on HeSer. jiiax hath loft a friend. 
And foaoies at mouth, and he is arm'd,and at ic : 
Roaring for Trojtiis ; who b ath done lo day. 
Mad and fancadicke execution ; 
Engaging and redeeming of himfelfe. 
With fuch a carelcfle force.and forcelefTe care, 
At if that luck in very fpight of cunniug.bad him win all. 
Extirjiiax, 
Aii. Ti-oyw.ihou coward Trojitis. Sxil. 

2)i>. I ,there,therc. 
Nejl. So. fo,v»e draw together. Sxii. 

Enicr jichiltet. 
AM. Where is this f/ffJer? 
Coine,come,thou boy-quellcr,fhew thy face ; 
Know what it is lo roee te Achillas angry. 
//<J}iw,whet's HiUtr} 1 will none hmH'lfiir. Txit, 

Enter AiiLX, 
Ai*. 7>y/'«,thoa coward Trs/Zwifliew thy head. 

Enter Diorr.fd' 
Diom. Trojlui,lCiy,\Nhi:'iTryt»ii 
Ai»- What would ft thou? 
Diarr). I would correft hlin, 
Ain. Were I theCtnerall, 
Thou (hould'ft hiue my offuc.v^ 
Ere that correilion : Trcjiui I fay, what Troj/m} 
Enter Trojlui. 
Traj. Ohtraiiour'Z)/iimf</! 
Turne thy falfc ficcihou (ray tor, 
And pay thy life thouoweft meformyhorre. 
Vto. Ha,arr thou there? 
Aii. lie fight with him aloneiflandD/omji/. 
Hio. Heismy priie.I will not lookevpon. 
T"/. Come both you cogingGrcckes. haueatyou 
both. Exit Trojlui, 

Enlir Hellor, 

//eJf. Yea Trcjl'"'^ O well fought my yongeft Brother. 

Euicr Achillii. 
Achil. Nowdoel fee thee jhaue at thee //fffur. 
//ffl. Paufc if thou wilt. 
Acbili I doedifdainethycurteficproudTroian; 
Be happy that my atmesareoutofvfe: 
My reft and negligence befriends ihce now. 
But thou anon (holt heare of me againc : 
Till when.goefeckc thy fortune. £xlt, 

Hctl. Fare thee well: 
I would haue bcene much more a frtfher man, 
I Had I cKpeiOcdiheeihownowmyBrcthei? 
I tntrTmjUis. 

! Troj. /^/njf hath tine e.^«/Mj (ball it be? 
■| No.by the flume of yonder glorious heauen. 
He fhall not carry him :lle betane too, 
• Or bring hirooff; Fateheatemewhat Ifayj 



I vvteake not, though thou end mjr life lo day, £rt 

Enter ortt in ^Armiur, 
HeB. Stand, ftand.thouGrecke, 
Thou art a goodly marke : 
No?wilt thou notf I like thy armour wen. 
He frufh ic, and vnlocke the riuets all. 

But He be maincrof it .-wilt thou not beafl abide? 
Why then 6ye on.lie hunt thee for thy hide. Exit. 

Enter Achilles with THjrmiJcns; 

Achil. Come here about meyou my Myrmidtnt : 
Marke what I fay ; attend me where I whcele ; 
Strike not a ftroake, but keepc your felues in breach • 
And when 1 haue the bloudyZ/iffar found, 
Empale him with your weapons round about : 
In fclleft manner exectJte your arme. 
Follow me firs, and my proceedings eye j 
Itis decreed, //(flor the great mufi dye. gxit. 

Enter Ther flies, MeneUiii ,ani ParU, 

Ther The Cuckold and the Cuckold maker are at it : 
now bull, now dogge, lowe ; Paris lowe j now my dou' 
ble hen'd fparrow; lowe i'<»r«, lowe; ibcbuUhaithe 
game : ware hotnci ho? 

Exit Ptris dad MtaeUm, 
Enter 'Stfltird, 

tup. Turne flaue and fight. 

Ther. What art thou f 

Btfi. ABaflardSonneofFrMm/. 

Ther. 1 amaBaftnrd too, IloueBaftatt*}, lam aBa- 
flard begor, Baftatd inftraaed.Baftard in minde, Baftard 
in valour.ineueiy thing illegitimate : oneBearewdlnot 
bite another, and wherefore (hould one Baftatd? take 
heede.thc quarrel's moft ominous to vs : if the Sonne of a 
whoie fight for a whore, he tempts iudgement ifaiewcll 
Baftard. 

"Safi, The diucll take theecowarcJ. Exeunt, 

Enter Heiitr. 

Wrff.Moflputrified core fofaire without: 
Thy goodly armour thus hath coft thy jife. 
Now is my daies workc done ; I le take good breath.: 
Reft Sword, thou haft ihy fill ofbloud and death. 
Enter jlcbitles nndhis Myrmidons, 

Achif. Looke Helior how the Sunnebegint tofetj 
How vgly night comes breathing at hisheclef, 
Euen with the vaile and datking of the Sunne, 
To clofe the day vp, HeQors life is done. 

Jietl. I amvnarm'd, forgoe this vantage Gr<eke. 

Achil. Strike fellowet,ftrike,ihisis the man I feclt^ 
So I llion fall thou : now Troy finkc downe ; 
Here lyes thy heart,thy finewes, andthybonc. 
On AfjirmidonSiCry you all a maine, 
Achilles hath the mighty ffdlor fliine. "^trii^, 

Karkc, a retreat vpon our Grecian part. 

Cree. The Troian Trumpets founds thelikemy Lord. 

Aclii, The dragon wing ornightore-fpreaoheearth 
Andftickler-liketheArmicifeperates 
My halfe fupt Sword,that frankly would haue fed, 
Plcas'd with this dainty bed ; thus goes to Ked. 
Come, tye hit body to my hotfes rayle ; 
Along the field,! will the Troian ttaile. Extunt. 

Sound Hetrett. Stout. 

EntiT A^amemnm, AUx, MeneUtu, Ifeflor^ 
JJiiired, and the reft tnarchsng. 

Agn. Harkc,hatLe,whatftiouclstb8t> 
N'ft. Peace Drums. 

Set AclilUj 



464 SOME ACROSTIC SIG:NATURES 

Signature 188. 

This acrostic is found in The Tragedy of Coriolanits, page 1. 
Note the first hne of the play : — 

(Efore we proceed any further, heare me speake. 



B' 



Note now the eleventh and twelfth lines : — 

'No more talking on't; Let it be done, away, away 
One word, good Citizens.' 

Begin to read from the initial O of the word ' One '; to the right; 
upwards; on the initials of the words of the text; spelling Oxocab, 

you will arrive at the initial 1^ of the first line of the play. 

Begin to read from the same big B; to the left; downwards; on 
the initials of the words of the text; spelling Bacono, you will arrive 
at the initial O of the word ' One '; thus keying the cipher. 

In a correct sense this is not an acrostic because there is no visible 
point for the base or butt. AVe rely here entirely on the amusing 
double entente of the text itself. 



B 



Efore we proceed any further, heare me speake. 



A 

C 
O 

N 

One word, good Citizens. 





£nttr f Cemptnj tfUHuriitciu Ciiiuns, \rtiph Sums, 
Clith^nd etherjrctiporjr. 

I. QiiKcn. 
Efore wc proceed any further, heart nic fpcaVe. 
yfll Speakf.fpcake. . 

i.C'f, Youatf alliefolu'd rather tody then 
(ofamifh? 

M. Refolud,iefoIu-d. 

i.fif. Funyoil kno^w, ^4iw/M4rri»f is chiefe enemy 
to the people. 

Alt, Welinow*r,welinow't. 

l.^'.Letv»killhim,3ndwee'lh3ueCort)eatoutovtn 
price. Is'tj VcfdiO ? 

t^//.No mote talking on't; Letiibedone,awjy,aw»v 

i.Cit, One word, good Citizens. 

\,Cit. WeoreaccoontfdpooreCitizent, the Pairi- 
dans good; what Authority lutfeisone, would releeue 
vs. Ifthey w6uldyfelde»« but the fuperfluitie while It 
wetewholTome, woe might guefle they releeued inhu- 
manely : But they thfnkeweaietoodeere, iheleannefle 
that afflifts »>-, ihc obiefl ofour mifery, is 5s an inuento- 
tytoparticuliiize their abundance, bur fuffetsnceisi 
gainetothem. Let vs rcuenge this with our Pikes, ere 
we become Rakes. FortheGodsknow, I fpeakethisvin 
hunger for Bread, not in thirft for Reuenge. 

iCit Wouldyouproceedc efpecially jgainft f«;«/ 
iJ^Utuus, 

Ml, Againfthimfitft: He's a very dog to the Com. 
monalty. 

i.^if. Confider you what Struices he ha s done for his 
Country i 

t.Cii. Very well, and couid bee content to giue him 
good report for 't, but that hecpayeshimfclfe withbee- 
ing proud. 

^11 Nay.but fpeaknotmalicioudy. 

t.Cit, Hiyvntoyou, what he hath doneKamoudie, 
hf did it to that mi ; though foft confcienc'd men can be 
contencts by iCWis for hisCountrey.he did it to pleafc 
hiiMother,and to be partly proud, which he is, eucnto 
theiitiiudcof hisvettue. 

a.Cii. WHat he cannot helpe In his KattlTe, you at- 
count a Vice in him'; You muft in no way fay he is co- 
uetous. 

l.Cit. If I mud not, I necde not be barren of Accufa. 
tioiis he hath faults (with furpJus)io tyre in repetition. 

Shotvtt withm. 
Wh»t (hovni arethefe ? The/)fhcT fide ath City is lifen; 
why Hay we prating hccrc' To tb'Capitt)!!, 

All. Co'me,<ome. 



I Cii. Soft,who<fomesheere? 

Enter Afenenius ^grtpp^. 
3 Cit. Worthy McncmH, t^guppa, one that h'ltti ll- 
KVayes lou'd the people. 

I <^<;. He's one honert enough.wold al the refl wej fo. 
Mir. What work's my Countrimen in hand i 
Where go you with Bats and Clubs? The ranter 
Speakel pray you. 

I Ot, Ourbufines is not vnknownetoth'Senati they 
haue had inklinp this fortnight what we intend to do , ■ii 
now weelfliewemln deeds: they fay pooreSurershaue 
flrong breaths, ihey rtial know we haue ftrong arms too, 
<Ww;,. Why Mafleis.my good rncndt, mine honeft 
Neighbours.willyou Vndoyour feluei? 

I Or. We caniiot Slr.we are vndone already. 
Mm. I tell you Friends, moO charitable care 
HauethePatiiciansof you for youi wants. 
Your fuffcring ip this dearth, you may as well 
Strtke at the fleauen with your nauc$,as lift iheni 
Agiinft the Roman State.whofe coutfe will on 
The way ittaket : cracking ten thoufand Curbed 
Ofmote flrong linke aOundcr, then can euer 
Appeate inyouriTipediment. Foe the Dearth, 
The Gods, not the Patricians make it, and 
Your knees tothem Cnot armes) muft helpe. AJacIte, 
Y<*u are tranfported by Calamity 
Theiher, where more attends you, and you (lander 
TheHelmes o'th Statej who care for you like Faihert< 
When you curfe them.as Enemies. 

iCit, Care for vsf True indeed, they nerecat'd for»» 
yet. Suffcrvs to famifh.and their Stofe-houfesctamm'd 
withGraineiMalcEdiiflsfor Vfurie, tofupport Vfu- 
rcri; rcpcale daily any wholfomeAf) eftablifliedagtinft 
the rich, and prouide more piercing Statutes daily, to 
chaine-vpandteUtaincthepoore. lithe Wlrtei eate »f 
not vppe, they wlilj andiherei alltheloue tbeybcwe 
vs. 

Mmn, Either you muff 
Confcffe your felues wondrous MaricioOf, 
OrbeaccusdofFolly. I (hall tell you 
A pietry Tale, it may be you haue heard it, 
But fince it fetues my purpofe, 1 will venture 
To fcale'c aliitle more, 

%Q{it,in. Weil, 
He hcare it Sir : yer you thuft not thinke 
To(tibbeo(four difgrace withatalei . 
But and't pleafe you deliuer. 

jT/f«.There was a rime, when all the bodies members 
Rebelld againft the Belly; thus accus'd it : 
That onely like a G ulfc it did remaine 

a a Tthi 



466 SOI^IE ACROSTIC SIGNATURES 

Signature 189. 

This acrostic is found on the last column of The Tragedie of 
Coriolmvus. 

Begin to read from the initial F of the word ' Flattered '; to the 
right; doAvnwards; on the initials of the words of the text; spelling 
Francis Bacon, you will arrive at the initial N of the word ' Noble ' 
in the last line. The acrostic figm-e here is : — 

Flattered your Yolcians, etc. 

R 

A 

C 
I 

s 

B 
A 
C 

O 

Noble 

Memory 

Assist. 

In a spirit of amusement let me point out that if I had been the 
cipherer I should have made this a strong instead of a weak acrostic ' 
by using the initials of the last two words of the text. The acrostic 
would then run from the initial F of the first word of the column to 
the initial A of the last, and the acrostic figure would then read : — 

FRANCIS. BACON. M.A. 

So far as I can see there is no reason to suppose that this latter 
complete figure is not intentional. 

Note that there is no V or U in Francis ; and note also that the 
name could be spelled Ffrancis, if the reader prefers it that way. 

Note that the eighth line from the bottom reads: — 

' Helpe three a'th'cheefest Souldiers, lie be one,' 
and not as most modern reprints have it: — 

' Helpe three o' th',' etc. 
As this letter ' a ' is essential to the signature, the misprmt is curiously 
fortunate if it was a typographical accident. 

* Spedding (vol. viii, p. 305) says, ' and being so near Cambridge he made use 
of the opportunity to take his degree of Master of Arts ; which was conferred 
upon him in a special congregation, the usual exercises and ceremonies being 
dispensed with, on the 27th of July [1594]. Spedding refers to Blackbourne, 
vol. 1, p. 217. 



?o 



Aiif. Heipfttoichet, youdialllKcirthin) 
Zntn Cm»U»m mdrchm^ iriih Dnunrnt^ni CoU-ri, The 
Comrtuncrs (femgwtshhim, 

Carif. Hailc Lords, I jrn rctutnd yourSouldict 
No more infcilcd wiih my Councrid loue 
Then wlicn I pirtcd hence : but ftill fubfiOing 
Vndet your great CommaniJ You ate lo know. 
That profperoufly I liiue attenipied, and 
With bloody parage led your Wattct, cuen to 
ThcgatCJotRome: Our fpoiles we hiuc brought home 
Doth more ilicn counierpoize a full (hitd port 
The ch3rf;cs of the Aflion. We haue made peace 
With no Icffc Honor to ihe ylnn.tiei 
Then ftiamc to ih'R omiines. And we heere dehuer 
Subfcrib'd by'ih'Confuls.and PairiciarH, 
Togecher with the Scale a"th Senat.whac 
We haue compounded on. 

jluf. Read it not Noble Lordi, 
But tell the Traitor in the hrgheft drgrre 
He hath abui'd jrour Powers. 

Ctru. Traitor? How now? 

^x/. I Traitor, Mdrlim. 

Corio, AftrttHi ? 

Anf. 1 }iUriiiu,C,tiiu Af*rtiiu -Do'dihou ttiinle 
lie grace thee with that Robbery, thy flolne name 
CffrtoUnm in Conotts } 

You Lords and Heads a'lh'Statcperfidiouny 
He ha's betray'd your bufinefTc, and giucn vp 
For ccitaine drops ofSalt.yoiir City Rome ■ 
1 fayyour City tohis Wife and Mother, 
Breaking hit Oath and Refoluiion, like 
AcwiftofrortcnSilke.neucr admiiimg 
Counfaile a'th'ivarre : Bui at his Nurfcj tcires 
He whin'd and roar'd away your Viflory, 
That Pages blufh'd at him, tni n»en of heart 
Look'd wond'ring each at others. 

Corio Hear'rt thou Mats' 

tytuf. NaraenoitheGodjthouboy of Teatej. 

Ccru. Ha? 

Aufii. No more 

CcTia, McafuielelTe Lyar.ihouhart made my heart 
Too great for what containei u. Boy? Oh Slauc. 
Pardon me Lords, lis the (irA iime that eucr 
1 was forc'd to fcoul'd.Your ludgmenis my graue Lords 
Mud giue this Curre the Lye rand his owneNoiion, 
Who weares my flripes impreft vpon him, that 
Mufl beare my beating to his Graue, fhall loyne 
To ihrurt the Lye vnto him, 

t Lard, Peaceboth.andhcaremefpcjle. 

CeTto, Cut me to peeces Voices men and Lads, 
Staine all your edges on me. Boy, falfe Hound 
If you haue writ your Annales true, 'tis iheie, 
That like an Eagle in s Doue-coai, i 



T lyt Tra geiiie of Qoridanus. 

Flaitci'd your Volclant in Cww/w 
Alone I did II, Boy 

^mf. Why Nobl* Lords, 

W ill you be put in niinde of hi jblindc Fortune, 



Which was your ftiamc, by this vnholy Boggait ? 
'Fore your ownc eyes,and eares ? 

x/^SCotjf). Lethimdyefor't 

Atifitflt. Tearehimtopeeces.doitprefently: 
He kill'd my Sonne, my daughicr,he kill'd my Celine 
Marcm, he kill'd my Father. 

J Lord, Peace hoe : no outrage, peace! 
The man is Noble.and his Fame folds in 
1 his Orbe o'lh'earili : His la(i offences to vs 
Shall haiie ludicious heating. Sund jiujfidiiu. 
And trouble not the peace, 

Coi-io O that I had him, with fix yiitffidiiijfufit more 
His Tribe, rovfe my lawfull Sword, 

yiuf. Infolcni Villainc 

y^llConlp. Kill,kill,Vill,kiII,killhim. 

VrtahihtheCanfpirtiiri, mtd l^j/t (JUtriilU^wbt 
ful/ti, jiujptlimjliindi <w him, 

Lordi Hold.hold. hold hold. 

yluf My Noble Maflcrs.hearemelpeake. 

1 iorrf OThIIiu 

2 Lard. Thou haft done a dced^whctcu 
Valour will wcepe, 

3 Lcrd. Tread not vpon him Maftetl.allb* quiet. 
Put vp your Swords. 

j^if My Lords, 
When yon fliall know (as in this Rage 
Prouok'd by him, you cannot^ the grcal danger 
Which ihi! mans life did owe you,you'l reioyct 
Thai he IS thus cutoff Pleafe ii your Hoiiouti 
To call mc loyour Senate, He deliuei 
My fclfeyour loyall Scruani,or endure 
Your heauif n Ccnrure 

I Lord. Beare from hence hisbody, 
And moutne you for hiin. Let him be regarded 
A I the mofl Noble Coatfe, that euet Herotd 
Did follow lo his Vrne. 

i.Lerd His ownc impariencc, 
Takes (lom y^uffidiiua great pan of blame. 
Lei'imakeihc Bcftofii. 

yl'-f My Rage ;s gone. 
And 1 am ftrucke wiih forrow. Takehim vp : 
Hcipe three »ih.'che«feft Souldicrs.lle be one. 
Beaie thou the Drummc that it fpcakc mournfully 
Trade your fleele Pikes. Thougn m ihisCiiy hee 
Huh widdowcd and vnchildcd many a one. 
Which lotliis hourebewailethelniury, 
Yci he fhall haue a Noble Memory. AlTiO. 

Exinni bitringthi'Bii) tfMorimi. AdtaitiUrcb 
Sounded, 



FINIS. 



468 SOME ACEOSTIC SIG^^ATURES OF 

Signature 190. 

This acrostic is found in the first and second pages of The Lament- 
able Tragedy of Titus Andronicus (see pp. 470 and 471). 

Note that the two capitals of the first word of the play are ^ 
I can see no other indication of an acrostic in this play, but 
let us suppose that these first two letters ^ indicate the tail let- 
ters of an acrostic ; that is to say, the last two letters in the name of 
Francis Bacon. In order to find the head of the cipher we scan the 
page, find nothing, turn the page and ' Loe ! ' or ' Lo ! ' stares us in 
the face. The word is remarkable, and halts us also, because it is 

deliberately printed on two lines (as any printer can see); thus, oe. 

Now note the capitals of the next two lines; they are tji and . 

~ , , 1 Returnes j Bay 

oi the words t;, and » u 

From Anchorage 

Here we have Bacon's initials F R A B, or Fra B, ' Anchorage,' 

and a place ' From which to Return.' Let us return from the word 

'From.' 



FRANCIS BACON 469 

Begin to read from the initial P of the word 'From '; to the right; 
upwards; on the capitals of the text; down the next column (p. 31); 
and UJ3 the next; spelling Fravncis Bacon, you will arrive at the 

large initial V with which the play opens. 

The acrostic figure here is : — 



N 



o 
c 

A 
B 

S 
I 

c 

N 
V 
A 
R 

From whence at first she 

weighed her anchorage : 



The Lamentable Tragedy of 

Titus Andronicus. 



dyfUus Trinjus Scwna Trima. 




F!o*rilh. BmnrthtTrAtntt tnd SnaariiUefi jtmiiben 

inter StrttrmtftM4 and his FoUovrri *t tte iawt^ 

aiA "Safiienm tnd hu FcUctrm ti iht 

nhcr, mih Vrnm (J- Colouri. 

Sstir-mttiUt 

JOblePitricitns, Patrons of my tight, 

Deftnd the luftlce of my C jufc wiih ArmM. 
And Countrfy-mtn, my louing Followcrt, 
PIcidc my Succtffiuc Title « ith yout Swo(d>. 

I was the firft borne Sonne, that was the laft 

Thatwcrethe Imperiall Diadem of Rome: 

Then let my Fathers Honours liue in me. 

Nor wrong mine Age wnh ihisindlgniuc 
"SspuDtm. Romaines, Friends, Followtn, 

Fauourers o( my Right : 

lieuet'Bdfittniu, Cf/iriSonne, 

Were gracious in thecyesof Royall Rome, 

Keepe then this pj(Tage to the Capitoll 

And fuffer not Difhonour to appioach 

Th'lmperiallSeate to Venue rconfectaie 

To luflice. Continence, and Nobil ly : 

ButletDefert in pure Fiction dime ) 

And Romanes, fight for Freedomc in yout Choice. 

Emrr MtTCiu jl'drontem tiffi niih ike Crevni. 

Princea, that rtriue by Faf>ion!, and by Friends 

Ambitioufly for Rule and Empcry : 

Know, that the people ofRome for whom we fland 

A fpeciall Party, hsue by Common »oyce 

InEleftionfoi thcBomaneEmperie, 

Chofcn ./4i»Jrrn;fw,Sur-n3med Pf*Ki. 

For many good and g'cat defcusto RorrK. 

A Nobler man, abraurt Warnour, 

Liues not this day within the C"y Wil'cs. 

He by the Senate it atcited homr 

From weary Warres againO the bitbarOKsCcthts, 

That wuh his Sonnet (a terror to our Foes) 

Hath yoak'd a Nation flrong.train'dvp in Armes 

Ten yeaies arcfpent,fincefirft he vrsdettookc 

This Caufe of Rome, and chafticed wuh Armes 

Our Enemies ptide. Fiue times he haih retorn'd 

Bleeding to Rome. beating his Valiant Sonnes 

In Coffins from the Field. 

And now at laft, laden with Honours Spoyles, 

Returncs the good yfn^om/M/toRome, 

Renowned Tiiut, floutlfhmg in Armc). 



Let »$ intreat. by Honour ofhis Name, 

Whom (worthily) you would hsue novt fucceetJe, 

And in iheCapitoll and Senates right. 

Whom you pretend to Honour and Adore, 

That youwithdrawyou, and abate yout Strength, 

Difmifle your Followers, and as SiJtets fViould, 

Pleade your Deferts in Peace and HumblenelTe 

SstMTHine. How fayrethcTiibunefpcakeJ, 
Tocalmemy rhou^hrs 

Baftta {Jifarcm And^omcu^ To 1 do affic 
In thy vprightnclTcand Inicgtity 
Andio 1 Loue and Honor thee, and thine. 
Thy Noble BtorherTi/w, andhisSonnes, 
And Hei (to whom my thoughts are humbled all^ 
Gracious Z,4i«inM.RomesrichOTnamfnr, 
That I will hccredifmilfcmy looing Friends ; 
And to my Fortunes, and the Peoples Fauour, 
Commit my Caufe in ballance to be weigh'd. 

£xn Sfldieieri 

Sfmine Friends, that hauebeene 
Thus forward in my Right, 
I ihanVe you all, and heete DifmifTe you all, 
Andtoihe Loue anJFauoutof my Countrey, 
Commit my Sclfe, my Pf tfon, and the Caufe • 
Rome, be as luO and gracious vnio mCi 
As I am coi^dent and kindc to thee. 
Open the Gates, and let me in. 

'Btfiia. Tribunes, and me, a poore Competitor. 

Fltitrijh. They^i vf into toe Setst hfufe, 

£yiim Cjtftatne. 
C'f Romanes make way the good ytnircnicM, 
Patron ofVertuc,Romesbeft Champion, 
Succcffefiill m the Battaiirs that he fights , 
With Honour and wuh Fortune is return'd, 
From whence he c It cumfcnbed with his Sword, 
And brought to yoke the Enemies of Rome 

Scwid Drrmmti and Trumftti^ j4ndtken enter tat efTilm 
Sonnet ; j^fterthtnu, teromen hetrine n Ceffm eonered 
wiihhUckt, then tno orhir Senn/s yifirr iherrtt Tilm 
j^»Argnicm ,dndthenTamtr/tihe ^tteeni ef Gelf*tj^(^ 
her n»e Sennet Chtron and DemeTriM, with K^«fn the 
M care, and others ai many ti Can bee ' Thty fet domtf the 
['c^in^and Ttthi^aktt. 

jlnirsmcui HaileRome 
Vii>orious in thy Mourning Wcedfa; 

Lo«.J 



5i 



0€ » tbc Bicke ihat h jth difchitg'd hit fijught, 
Rcturnet with precious Itding to ilje Bay, 
FtoiD whtnce at firft (Tie wcgih'd hct Anchorig* : 
Commcth ^ndroniCM bound withLawrcllbowCflA 
To refalutc his Countic with Sii tearej, 
Tcates of tiue loy for his tctumt to Rome, 
Thou great dtftiider of tins Capuoll, 
Stand gracious to the Rites th^t we intend. 
Romaines,of 6ue and twenty Valiant Sonnes, 
Halfe ofthe number that KingfrMwhad, 
Behold the pooteremainesaliueaiul dead! 
Thefe that Suruioe.iei Rome icwaid with Loue a 
Thefethat 1 bring vnio iheit laieft home. 
With buriall amongft their Aunccftors. 
Heere Gothcs haue giuen me leaue to (heath my Swotd: 
TVt/avnkindc.and catelcfTc of thine owne. 
Why fuffei'ft thou thy Sonncs vnbuiiedyet. 
To liouer on the dteadfull (hore of Stix f 
Make way to lay ihcm by tlicir Btethcrcn. 

There gteete in (ilence as the dead are wont. 

And flcepc in peace.fliine m your Countries wartes : 

O facred receptacle of my loycs, 

Sweet Cell of vcrtve and Noblitie, 

How many Soniusofniine haft thou in rtore. 

That thou will neucr render to me more .' 

LiK. due vs the proudeft pnfonet ofthe Gothei, 

That we may hew his limbes.and on a pile 

jldmxttM ffatrt4mj3ci\f\zc his flefh ; 

Before this earthly piifon of their bones, 

That fo the fliadowei be not vnappeas'd. 

Nor we diflurb'd with prodigies on earth. 

T"". Igiuehimyou.cheNoblcft thatSuruiuei, 

Theeldert Sonofihis diflreffcd Queene. 

_ivm. Slay Rornaine Bteiheren gtacious Concjueror, 

Viftorious Titm,rue the leares I ftied, 

A Mothers ttares inpalTionforherfonne: 

And if thy Sonnes were euer deere to thee, 

Ohthinke my fonnettobeas deete tomre. 

Sufficeth not,ihat we are brought to Ro.nc 

To beauiifie thy Tiiumphs.and returne 
Capiiue to thee, and to thy Romaine yoale, 
But muft my Sonnes be daughired iniheflreeies. 
For Valiant doings in their Countnescaufe ? 
O I if to fight for King and Common-weale, 
Were piety m thine, u is in thefe. 
j4nJronicM,(\nncnoi rhy Tombe with blood. 
Wilt thou draw necrethcnatuteof theCods ? 
Draw necrc them then in being merCifuU. 
Sweet mercy is Nobilities true badge, 
Thrice Noble Ti/»j,fpare my fitft borne fonne. 

Tit, Patient yout felfe Madam, and pardon me. 
Thefearethc Brethren, whom you Gothcs beheld 
Aliue and dead, and for their Brcihcren flame, 
Religioufly they askc a facnficc ; 
To this your fonne ismarki,anddiehemuft, 
T'appeafe their groaning fhadowes that are gone. 
/jKc, Away wtih him, and make a fire ftraight. 
And without Swords >pon a pile of wood, 
Lec'shew his limbes till they be cleanc confutn'd. 

Exit So^nei with Altrbiu, 
Tamo- Ocrucll iirfligious piety. 
Chi. Was euer Scythia halfe fo barbarous < 
Cem. OppofctoeScythitioambitiouj Rome, 



TheTragedie of Titus zAndronicus. 



jiUrtiu gees toreft,andwe fuiuiue, 

To trtisbic vnda Tlni ihreitabie looliei. 

Then Madam (bcid tefolu'd^btii^pemtbil). 

The ftlfe fame God< that arm'd the Queene of T.'oy 

WiihopporiuniticofO)arpcreuengc 

Vpon the Thraciin Tyrant in hii Tent , 

May fiuovt Tntiort the Qneene ofGoihn, \ 

{ WhenCorheswcreGoihct,andT«*or<nK Qaeenel 

To quit the bloody wrongs vpon her foe». 

f«ftr tot Sofmts ofjiitdromcm apatite, 

LiKt. See Lord and Fathet.ho w we haue petform'd 
Our Romaine righres-,<i!«ri«< limbs are lope. 
And intrals fecde the faenfifing fire, 
Whofe Imoke like incenfe doth perfume the skit, 
Remaineth nought but to interte our Brethren, 
And with lowd Larums welcome them to Rome. 

Tit, Let It be fo.and let jindrtmcm 
Make this hii latcQ farewell to tlieii (onlei. 

Thn Sound Tmmfitt.axJldf iht Ct>§ni in the TcnAc, 
In peace and Hano«r reft you heere my Sonnes, 
Ronies readied Champions.repofe you heere in reft 
Securefroin wotldiy thauncesandmifhaps: 
Heere luiks no Tieafon,heere no enuie fwels, 
Heere grow no damned grudges, heete are no (iornici. 
No noy fc,bur fiience and Etetnall fleepe. 
In peace andHonourtcft you heere my Soanei. 

Enter LnHiiiM. 

tnut In peace and Honour ,liue Lord Tuiu long, 
My Noble Lord and Faihei.hue in Fame: 
Loe at this Tombe my inbutarie teafei, 
I render foi my BretneiensObfcquies. 
Andatihy fccte I kneele,witlitearesofioy 
Shed on the earih for rhy returne to Rome. 
OblefTeme heere with thy vidtoiioushand, 
Whofe FoituncRomesbcH Citizens applau'd. 

Tt Kind Rome, 
Tim haf> ihuslouingly refcru'J 
The Cor di all ofmincage logladmyharC 
£iiMinMliue,oiit-tiuc ihy Fathers daves : 
And Fames eternall daic for venues praifc. 

M^rc. longliuc Lord7irw, my bcloued brother. 
Gracious Tnumpher iniherycsof Rome, 

Tit. ThankesGenileTiibuue, 
Noble brother Mutchi. 

Mar. And welcome. Nephews from fucceffull w»M, 
You that furuiueandyou that fleepe m Fame; 
Faire Lords your Forrunes are all alike in all. 
That in your Couniries feruice drew yourSwotdt. 
But fafer Triumph is this Funerall Pompe, 
That Hath afpir'd to ScUni Happinci, 
And Triumphs ouet chaunce in honours bed. 
Tiiua .<4oi/M>»/fi« .thepeoplcofRome, 
Whofefriend in luftice thou haft crerbenc. 
Send thee by me their Tribune and their ttuft. 
This Palliamem of white and fpotleffe Hut, 
And name thee in EleAion for the Empire, 
With the fe our late dcceafed Empetourt Sonoei j 
Be Ctndiiaim then and put it on. 
And helpe to fet a head on headleffe Rome. 

Tit. A beuei head her Glorious body fitt. 
Then his that (hakes for age and fccblineflic: 



472 SOME ACROSTIC SIGXATURES 

Signature 191. 

Thh acrostic is found ou the first page of The Tragedie of JRomeo 
and Juliet. 

Begin to read from the terminal O of the word • No.' which is the 
hist word in the first cohimn; to the left; upwards; on the terminals 
of all words and part words in the column and the heading of the 
plag ; spelling Oxocab Ocsicxarf (Francisco Bacouo), you will 
arrive at the terminal F of the word 'OF* in the heading 'THE 
TRAGEDIE OF.' 

The acrostic figure here is : — 

THE TRAGEDIE OF 

R 
A 
N 
C 
I 

s 
c 
o 

B 
A 
C 
O 

Gre. XO 
This acrostic was found for me by Mr. "W. L. Stoddard. 

An acrostic is found on the last page of TTie Tragedie cj" Romeo and Juliet. 

As the text aud the tigiire of the acrostic are the same as the corresponding 
text and ligiire found in the so-called second Quarto, it has been found con- 
venient to print the facsimile from the Folio alongside that taken from the 
second Quarto, in chapter xra. The reader is therefore referred to that chapter 
for this signature ; it will be found on page 530. 



5L 




THE TRAGEDIE OF 

ROMEO and IVLIET. 



(lAcl'ds Trimus. Sccena Trinia. 




«fi he Hiiifc cfCt}ulet. 

SttKjfM. 

Rt£cTj : A my word wee'I not carry cnalf ». 
C'rt". No, for ihcn we (TiouldbeColIiars. 
Scmji, Iincan,ifwebeinchcilcr,'Acc"ldraw, 
Crr^. I, While you lije. draw your neckeout 
o'lh Cbllar. 

SjTup. 1 nrilcqiiicJiIj', being aiou'd. 

Crfj. But thou art not quiclilyniou'J to Or lie. 

Sjmp, A<1ogofihchoufcof /i/cMOMfWiTioucsme. 

C'f^'Ton.OJe.istortir: andti;bcv:Iiaut,ino (lanii: 
Thcrciorc.ifthou art mouV.ihou rcnrt away. 

5"»w^. A dogjeof ihathoufefhatlmoucmetoflani}. 
I will take t!ie wallofaiy Manor Maid o( Afmnm^ntr, 

Crtg. Thatn-.cv/csthtcaNTcafce fliue, lor the uvea', 
kcftgocsto it e wall. 

Stmj. True.and tliefcroreworaenlieingihe vteaker 
Veflclj.are eucr ihrufl to the wall : therefoic I will pufli 
<t/o>(».'<fj«»inenfroiiitliev»»!l, andthrufthij Maidea to 
tncwall, (iheirincn. 

Crti^. TieQnarrelliibetwceneour Maflers, andvs 

Sawj. Til all onc,I willflicwmyl'elfeaiyrant;whe?> 
Ihaue fought with the men, Iwitlbee ciuil! wiih the 
Maids,and tut off ihflrlieadf. 

C"g, TlicheadsofilieMaids? 

^-ira.IjthehfadsoftheMaids.ortheTrMaitJen.heids, 
Take i; in wliat fence thou wilt. 

Crrg, 'tt.ty (null t ake it fence, tliac feele ie. 

Stimji. Me iliey ftiall feci; while I am able to ftmd r 
Briti'tislino-Ane 1 am a prctiy pccce of flcfli. 

Cre^, 'Tis well thou art not Fifh: Ifthouhad'll, thou 
had'ftbe^nepoorelohn. Draw thy Toole.bcrccoinesof 
the Hoafe of ibe c^nnitt^uet. 

Enttr Iwo tihtr <!fTuirrrxn, 

^.rM.My naked weap6n it out: quarrel,! veil bail thee 

Cre. How?Turncihybacke^ndtun. 

Siiru. Fearemenot. 

Crf. No marry : I feare tlief. 

iS^.n. Lrtvitaketlie Law ofourfiJes:Icttbem begin. 

Cr.I wil frown aslpaffcby.&let the takeitasthry lift 

Sam. Nay, IS ihcvdate.lwil bite >tiy Thumb at tbco), 
whichisadifgracctotheni, ifiheybejreit. 

.Atriu Do you bite your Thumb* at Ti fit ? 

Strrif. IdobitemyThumbc,(ir. 

^im. Do you buc your Thumb atTi, (it? 

Stai. Is theLawofoutlide.iflfayU Cr«.Ho. 



5.CT7, No(ir,fdonotbitemyThurabeatyoufir:but 
1 bite my Thumb; Hr, 

Crcj. Doyouqua|:el;fir? 

ylirA, Quarrel; fii? no fir. (as you 

Sim, 1 f you do fir.I am for )ro'j,I ferue «i good a man 
ylh/i. Nohettcr? '*wy. Well fir. 

Errrer 'Bcn'Mlio, 

(7''.Say be:ter;bCTe toaics one of n.y tnaflrrj kiofnieB^ 

Sitmp. Yes, better. 

Air a. You Lye. 

S.Mxp. Drawityojbctnen. C'cg^y, reniembtc thy 
wafl.i igblow, Thty Fight. 

Ben. P jtt rooles.pn: vp your Swords ,you kaow not 
what you do. 

inter Til nit. 

Tj'o. V/hit art thou driwre, amonjthefc heattleflc 
Hir>c!esl*TurnetI'.te ^ci7ffi:/(»,!ooke»pon thyjdeath. 

Ben. I do but kcepc the peace, put vp tbySword» 
Oi manage it to part thefe men with me. 

T}b. Wli;t draw.and talke of peace?! hate th« wor.d 
As \ hate hell, ail MountaeaeSfiii^ thee: 
Haue at thee Coward. . f<^*' 

Ener three crfcure Ciii:.m vtiih CIntit 

0,f;.Clubs,Bi!5,and Partifoni,flrike,be3t them down 
Dcwnc >vith the Ctfti'eis,io\\ac with the McMtagaet. 
Lnter 9ld Cf^u^et in hii Cmfne andhn ajfe. 

Caft V/hat iioife is ihisiCiue me my longSwcrd ho. 

H'lfe. A cruti.h,acrurch: why call you for a Sword? 

("p. My Sword I fay : Old T^Uuntngae is COniFj 
And flounlhc! hi; Elade in fpight of mf. 

. Enter o.d Mountaoue ^f^- hU vife. 

TtJoin. Thoa villaine Caft/ct, Hold me nor, let fee go 

t.tVife. Thou (h alt not flir a foote to fetke a Foe, 
Snter Pr.-nce Sik4tei, with his TrtiKt. 

fritict RebclliousSubicfls.Enemiestopeace, 
Prophaners of this Nei|>hbor-llained Steele, 
Will they not hcate ? What lioe.ycu Men, you Beafis, 
That qucn;h the fire of your pcmttioui Rage, 
With purple Foantainej ifluing from your Veinej : 
On paine uf Torture, from thole bloody hardj 
Throw your mirtcinpct'd Weapons to the ground. 
And heart the Sentence ofyour mooutd Ptiuce. 
Three ciuill Broyles, bred cfan Ayery word, 
By thee old Cafulet and Momtigne, 
Haue thrice diiiurb'd the quiet of out firetts. 
And made Veronii ancient Citizeiii 
CaflbytheitGrauebefeemingOtnamentt^ 
Tp wield old Partizana, in hands at old, 

ee } Cinkredj 



474 so:me acrostic signatures of 

Signature 192. 

This acrostic is found on the last page of Timon of Aihetis. (See 
p. 477.) 

Begin to read from the initial F of the word 'Fenis'; to the right ; 
upwards ; on the initials of the words of the text of the first column; 
spelling Francisco Bacono, you will arrive at the initial O of the 
word ' out,' which is the last word of the first line of the first column, 
and the end of the string of letters on that column. 

The acrostic figure here is : — 



'O' 



Out 

O 
C 
A 
B 
O 
C 

s 
I 
c 

N 
A 
R 
FINIS. 



FRAKCIS BACOK 475 

Signature 193. 

While we are dealing with the last page of Timon of Athens, we 
may as well observe the amusing way in which the ' Ej^itaph ' seems 
to have been used. (See p. 477.) 

Begin to read from the initial S of the word ' strike,' which is the 
last word of the text of the play; to the left; upwards ; on the initials 
of the words ; spelling Saint Alban, you will arrive at the initial 
X of the word ' name.' The acrostic figure here is: — 

Seek not my T^ame 
A 
B 
L 
A 
T 

I 
A 

Strike. 

Signature 194. 

Here is still another acrostic in the ' Epitaph ' at the end of Timon 
of Athens. (See p. 477.) 

Begin to read from the initial N of the word ' name,' on which we 
ended the last signature (193); to the left; downwards ; on the tenn- 
inals; spelling Kocab Sicnvarf, you will arrive at the mitial F of 
the word 'Finis.' The acrostic figure here is: — 

Seek not my Name : 
O 
C 
A 
B 
S 
I 

c 

N" 

y 

A 

R 
FINIS. 

I hope to have a later oj^portunity to show the acrostics which I 
have foiuid on the pages of this play which bear irregular numbers. 



476 SOME ACROSTIC SIGNATURES 

Signature 195. 

This acrostic is also found in the last page of Timon of Athens. 

Begin to i*ead from the terminal F of the word ' of,' in the page- 
heading; to the right; downwards; on the terminals; si^elling Ffran- 
cis Bacon, you will arrive at the initial terminal IS^ of the word 
' name ' in the ' Epitaph.' 

The complete figure of this and the two foregoing acrostics is: — 

Timon oF 
F 
R 
A 

C 
I 

s 

B 
A 
C 

O 

Seek not my Name 

A 
C B 
A L 

B A 

S T 

1 N 
C^ I 
N A 

V Strike 

A 

R 

FINIS 



' 5>8 



Timon ofzAihem. 



Who were the tnotiuei that you fiift went out, 

(Shame that tbty wanted, cunning in excelTe) 

Hath broke theit hearts. Match, Noble Loid, 

Into out City with thy Banner « (pied. 

By decimation and a lythed death j 

1 f thy Reuenges hunger for that Food 

Which Nature lojthei, lake thou the deftin'd tenth. 

And by the hazard of the (potted dye. 

Let dye the (potted. 

I All haue not offended: 
Pot thofe that were, it is not fqnare to take 
On thofe that are, Reuenge : Crimes, like L.andi 
Are not inherited, then decre Countryman, 
Bring in thy tankes,but leauc without thy rage. 
Spate thy Athenian Cradle, and thofe Kin 
Which in the bluHer of thy wtathmun (ill 
With thofe that haue offended, like a Shcphcard, 
Approach the Fold, and c^ll th'infeilcd forth. 
But kill not altogether. 

1 What thou wilt. 
Thou rather (halt inforcc it with thy fmile. 
Then hew too't, with thy Swotd. 

I Set but thy foot 
Againll our rampytd gates, and they fliall ope : 
So thou wilt fend thy gentle heart before. 
To fay thou't enter Friendly. 

» Throw thy Gloue, 
Or any Token of thine Honour elfe, 
That thou wilt vfe the wattes as thy redieffe, 
AndnotaioarConfu(ion ; All thy Powers 
Shall make their haibotir in out Towne, till wee 
Haue feal'd ihy full defire. 

Ale Then ihcrc's iny Clouc, 
Defend and open your vncharged Ports 



Thofe Enemies of Timers, and mine owr ' 
Whomyouyour felues (liall fee out forreproofe 
rallandnomore; andtoattoneyour fcaies ' 
With my more Noble meaning, rot a man 
Shall pafPe bis quarter, or offend theflreatno 
Of RtgMlar luftice in your Citties bounds. 
But (liall be remedied to your publique Ltwcs 
Atheauieftanfwer. 

"Bcih. Tin moll Nobly fpoken. 

J^lc. Defcend,andkecpe your words. 
Emtra Mt^tigtr, 

MiJ. My Noble Gener jll, Timtn ii de.d, 
Entomb'd vpon the »ery hemme o'th'Sea, 
And on his GrauetJone, this Infculptute which 
With wai I broughr away : whofefoft Imprcflion 
Inteipreisformypoore ignorance. 

Alcituics rtAdci iht Fpitaph. 
Hiere lici * wrtichtdfcrfi-, ofKrinhcdSoiil, bcrtfi, 

Hcerc l^e I Timea^ho ttl,:u^U/iuivg mrn ilidhtrr, 
r>4r h.'X'd cirfi ihyfill, i„ fjfr arJjUy nc, kc'c thyrMt 
Thcfe well cxprelTc in ihcc thy latter fpiriti: 
Though thou abhorrd'fl in vs our humane gtiefes, 
Scornd'rt out Braines flow, and thofeour droplets.which 
Ficm niggard Nature fall; yet Rich Conceit 
Taught thee to make vafi Neptune wcepe for aye 
On thy low Graue, on faults forgiuen. Dead 
Is Noble Timon, ofwhofeMemorie 
Hcereafiermore. Bring meintoyourCitie, 
And I will yfetheOliuc, with my Sword: 
Make war breed peace ; make peace flint wjt.roakeeach 
Prefcribc to other, as each others Leach. 
I LetourPrum meiflrike. Cxtunt 




478 SOME ACROSTIC SIGIN^ATURES OF 

Signature 196. 

This acrostic is found on the last i^age of The Tragedie of JuUiis 
Coesar. (See p. 481.) The Alarum sounds andCHtus cries to Brutus : — 

Fly my Lord, flye. 

Begin to read from the initial F of the word 'Fly'; to the right; 
downwards; on the initials of the words; throughout the whole of 
the remaining text of the play and back again continuously ; spelling 
Fravncis (or Ffravncis) Bacok Baron Vervlam, you will arrive 
at the initial M of the word ' my.' 

Begin again to read from the same initial F, and read in precisely 
the same way but in the reverse direction, to the left instead of to 
the right at the start; you will again arrive at the initial M of the 
word ' my,' having spelled Fravncis Bacon Baron Vervlam. 

Here we have this extraordinary signature keyed from and to the 
same points and in opposite directions. 

The acrostic figure here is shown in conjunction with the next 
figure, on page 480. 



FKANCIS BACOX 479 

Signature 197. 

Now note in reading either way we ended the spelling of Fr or 
Fravncis Bacon on the initial X of the word ' Nature ' (second 
column, twenty-second line), whether reading to the left or to the 
right. In other words, the initial N was a keyed point. 

Begin therefore to read from the initial N of the word 'Nature'; 
to the right; downwards; on all the letters, this time, of all the words 
of the text; spelling backwards Nocab SiCNVAErr, you will arrive 
at the initial F of the word 'Finis.' 
The acrostic figure here is : — 

Nature might stand up, 
O 
C 
A 
B 
S 
I 

c 

N 
V 
A 
E 
F 
FINIS 

Now note that I can see no signature on the first page of the play, 
but observe that the opening word of the play is I— | 

It was the possible double entente of this opening word which drove 
me at once to the end of the play for the cipher. 



480 so:me aceostic sigxatures 

The combined acrostic figures for signatures 196 and 197 are: 



A^ 



Ply My A--L^ Lord.flye 
R V 



y \ 



/ 

N 

/ 1 



£ 
N \ 



C 

1 

I 

\ 

s 



1 7 

\_ R 



I 

c 

I 

A 

I 

B 

1 

S 

• 

I 

I 

c 

V 

I 

A 






R 

I 

FINIS 



._JJ?_ 



Cfy.. V\ffije rtiy Lord, dirte ii no t Jirying heere. 

Sr». Farewell co you, and you,and you yelummm, 
Sirtitt,thou hafl bin all this while aflcepe : 
Farewell to (bee, to Str/iic, Cotinuymen; 
My heart doth ioy, that ycc in all my life, 
I found no man, but he wai true to tne. 
I (hall haue glory by this loolingday 
More then 0£?<«i«,and Markt K/iniony, 
By this vile Conquefl ftiallittaineviito.' 
Sofareyouwellat once, for Brntm tongue 
Hath almoft ended hit hues Hiflory : 
Night hingi »pon mine eyes, 1117 Bones would refl. 
That haue but labout'd, to iitiine this houre. 

jilivum. Crj tfiibia, Ttje,fye,fye. 

Clj. FlymyLotd.flye, 

Bru. Hence : I will follow : 
I prythce Striuo, ftay thou by thy Lord, 
T hou art a Fellow of a good refpedl : 
Thy life hath had fome Imatch of Honor in it. 
Hold then my Swprd,and turnc away thy face, J 
While I do run vpon it. Wilt thou Stmto } 

Str4. Giue me your hand firft.Fare you wel my Lord. 

Pru. Farewell good 5fr4(». C^/ar.now be fiill, 

I kill'd not thee with halfe fo good a wilU Djii. 

AUtrum. Rtireat. £ntrr j1itnj,0ti*Him,Milf»U, 

Uieilliui^tiid tht Armj. 
0^0. What mm 11 that? 



The Trage^tte qffulius Qafxr. 



UUtjfd. My Mailers maa.itr4/»,where is thy Miftct? 

Ser4, Free from the Bondage you arc m MeffaU. 
The Cooquerors can but make a fire of him : 
For Bruitii ooelyouercame himfelfe. 
And no man elfe hath Honor by hii death 

LtKiU So Brutiu (liould be found. I thank thee Bntm 
That thou haft prou'd Lucillim faying true, 

OCiii, All that feru'dSruoa,! willentertainethem. 
Feilow.wiltthoubeftow thy time with me? 

Stra. I,if>/f//j/4willprcferteroetoyou. 

Odd. D o (o, good Ml fjla. 

OUtfd. How dyedmy Mifler5rr«»? 

Stra. 1 held the Sword, and he did run on it. 

Mtfa, Ofl.o<>«<. then take him to follow thee. 
That did the latcft feruice to my Mafier. 

All. This was the Nobleft Roman of them alt : 
All the Confpirators faue onely hce. 
Did that they did. incnuy of great Cnyir: 
He, onely in a generall honeft thought. 
And common good to all, made one of thsiJi, 
H11 life was genile,and the Elements 
So mixt in him, thaiNature might ftaiid vp, 
And fay to all the worldj This was a man. 

OUa. According to hit Vernie, let vt vfthim 
WithallRefpea.and Rites of Buriall. 
Wuhin my Tent his bones to night ftiill ly, 
MoRlikeaSouldier ordered Honourably: 
So call the Field to reft, and let's away, 
To part the gloties of this happy day. Extwn trrati- 




482 SOME ACROSTIC SIGXATUEES OF 

Signature 198. 
This signature is found in Act 1; Scene 1; of The Tragedie of 
Macbeth. (See p. 485.) Begin to read from the large V/y which is 

the initial of the first word of the text of the Scene; to the right; 
downwards; on all the letters of all the words; spelling Will 
Shakespeare, you will arrive at the tei-minal E of the word ' ayre,' 
which is the last word in the Scene. 
The acrostic figfure here is: — 



w 



Hen shall we three meet againe ? 



L 

L 
S 
H 
A 
K 
E 
S 
P 
E 
A 
R 
ayrE 

Signature 199. 

This acrostic is found on the second column of the first page of 
The Tragedie of Macbeth. (See p. 485.) 

Begin to read fi'ora the initial O, which is the first word of the first 
line; to the right; downwards; on the terminals; spelling Onocab 
OcsicxAEF, you will arrive at the initial F of the word ' faint ' 
(tAventieth line from top). 

Begin to read from the terminal N of ' Gentleman,' which is the 
last word of the first line; to the left; downwards; on terminals; 
spelling IS^ocAB Sicnvarf, you will again arrive at the initial F of 
the word ' faint ' (twentieth line from top). 

Begin to read from the initial F of the word ' faint '; to the right; 
downwards; on the terminals; spelling Francisco Bacono, you will 
arrive at the terminal O of the word ' No,' which is the last word 
on the page. 



FEANCIS BACON 483 



The complete acrostic figure here is : — 

O valiant Cousin, worthy GentlemaN". 
N O 

O r. 

A ^ 

B B 

O S 

C I 

s c 

^c 

N V 

A A 
R R 
Faint 
R 
A 

C 
I 

s 
c 
o 

B 
A 
C 
O 

N 
King. NO 



484 SOME ACKOSTIC SIGNATURES 

Signature 200. 

This acrostic is found on the first page of The Tragedie of Mac- 
heth. 

Begin to read from the initial B of ' Battlements,' the last word 
of the last line of the first colmnn; to the left; upwards; on the 
initials of the words of the text; spelling Bacon, you will arrive at 
the initial N of the word ' Name ' (eighth line up). 

Begin to read from the initial N of this word ' Name ' ; to the left ; 
downwards; on the initials of the text; spelling Nocab, you will 
arrive at the initial B of the woi-d 'Battlements'; thus keying the 
name from two points in two directions. 
The acrostic figure here is : — 

Name 
O 
C 
A 
Battlements 



'^I 




THE TRAGEDIE OF 

MACBETH. 

dAtlus Trimus. Soxna 'Trima. 




Ihiindtr and Ltghlning. Enter thrieiymhis, 

Hrn Oiatl we thr« mtct againc > 
In Thunder, Lighining.or in Ridic? 

I. WhcnthcHurley-buiIey'sdonc, 
WTienihc Butailc'j lof .and wonnc. 
;. TlmvvillbccrethefetofSunne. 
I. Whtte the place? 
t. Vpon A\t Heath. 
3. Tberc to meet with jl/rfc^fifc. 
I. Icome.Graj-Afj/hi. 

jiU. /Aiff^j^callsanon; faUeii roulcjandfoulclsraire, 
Houet through the fogge and filthic ayre. Extnnt, 



Scena Secunda. 



^Urnm trithut. Eiier Km^ C^talctms, Dtn/tl- 
^atne,Lttfcr.tPirhdttend4Hts,meertN^ 

King, What Moody man is that ? he can report, 
Asfeetnethbyhisplightjof thcRcuolc 
Theneweflftate. 

Afal. ThuifthcSericant, 
Who like a pood and hardie Souldif r fought 
"GainftmyCapiiuicie : Hailebraucrricnd; 
Say to the King.thc knowledge of the Btoyle, 
Asihoudidft Icaue it. 

Ctf. Doubtrull itdood, 
Aitwofpcnt Swimmcrs.that doe cling togethefi 
And choaU their Ait : The mercilefle Tittcdc'rniM 
(Worthie to be a Rebell.for to that 
The multiplying Vilbnies of Natuf r 
Doe fwatme vpon him) from the VVcftcrnc Ides 
OfKernesandGallowgrofiejisfupply'd, 
And Fortune on hi) damned Quany fmiling, 
Shew'd like a Rebclls Whore : but all's 100 wfltf : 
Fofbraue/1/jfif;/;( well heedcferucithat Name) 
DifdaynrngFortune.withhijbrandifbt Steele, 
Which frnoak'd with bloody execution 
f Like Valours Minion) catu'd out his paffage. 
Till hce fac'd the Slaue : 
Which neu'r (Vioote hands, norbad farwell to him, 
Till he ynfeam'd him from the Naue tpth'Chops; 
And fix'd his Held vpon out Battlememi, 



AViif. 'O valiant Cou (in, worthy Gentleman, 
Cap. Ss whence the Sunne 'gins hit tefleflioii, 
ShipwiackingStormes.andditefullThundeis : 
So from that Spting,vuhencecomfottfecm'd'toconir, 
Difcomfoit fvvells: Marke Kingof Scoiljndjtnarke, 
No fooncr lurtice had, with Valour atm'd, 
Compclld ihefe skipping Kernes to tiufl their hecles, 
But the Norweyan Lord.furoeying vantage, 
V/iih furbunu Arnies,and new fupplyes of (reti, 
Bcganafrefhafl'ault. 

King. Difmay'd not thiiourCaptalne«,^<cfc(S and 

'Bittiqitoh ? 

Cuf. Yes, at Spatrowcs.Eaglei; 
Oi the Hare, the Lyon : 
Jf 1 fay footh, I rtiuft report they were 
AsCannons ouer-charg'd with double Crickl, 
So I hey doubly redoubled flroakes vpon the foe : 
Excppnhcy meant to bathe in locking Wounds, 
Or memorije another Cot^otht, 
I cannot tell ; but I am faint, 
MyGafbcs cry forhclpe. 

Kiig. So well thy wotdi become tbee.as thy woundy. 
They imack of Honoi both : Goeget him Surgeonj, 

Enitt Rojfe *iii /Ingiu, 
Who comet here? 

M.tl. The worthy T**if of RoOir, 
Leicr. What a hafie looket through hit eyes? 
So fliould he loake,that feemcs to fpeakc ihinet llrlDgt, 
Kc(fe. God faue the King. 
AOjj. Whence cam'ftthou.wonhyTSioiff 
Rofc. From Fiffc, great King, 
Where the Norweyan Banners flowt the SkiCj 
And fanne our people cold. 
Nfranj himfelfe.with terrible number*, 
Affifled by that moft diHoyall Traytor, 
The Thmr of Cawdor.bcgan a difmall CooflltS, 
Till ihatS.-.'/ofrn'r Bridegroome,1aptinproofe, 
Confronted hitnwirhfclfe-companfonr. 
Point againd Point.rcbcllious Arme 'gainft Aimc, 
Curbing his UuifHipirit : and to conclude. 
The ViiSoriefcllonTs. 
King. Great happincfTe. 
K'ft: That now Sacr.c^iht Notwiyes King, 
Craues compofition : 

Nor would we deignc him burlall ftf hii men. 
Till he disburfed, at Saint ^«/«w/ynch. 
Ten thoufand Dollais.to our genetall ffe, 
_^___ l^i'g. No/ 



486 SOME ACROSTIC SIGNATURES 

Signature 201. 

This acrostic is feund on the last page of The Tragedie of Macbeth. 
Note the Floui-ish before and after Malcohn's last speech. 
Begin to read from the initial F of the upper 'Flourish'; to the 
right; downwards; on all letters of all words; spelling Fkauncis 
Bacon, you will arrive at the letter N in the word ' TyraNny' (en- 
larged for your convenience). Now continue down; to the right; 
from the N of the word ' TyraNny '; spelling Nocab Sicnvarff, you 
will arrive at the initial F of the lower word ' Flourish.' 
The acrostic figure here is: — 

Flourish 
R 
A 
U 
N 
C 
I 

s 

B 
A 
C 
O 

That fled the Snares of watchfuU TyraNny 

O 

c 

A 
B 

S 
I 

c 

N 
V 
A 

R 
F 

Flourish 

Note that the upper name is spelled with one F, while the lower 
has Ff; an immaterial difference, but it puts the figure in the class 
of ' weak ' acrostics. 



The Tragedie cf<:5Macbeth. 



»5r 



Sccmes bruited. Lcc mc findc him Forcunc, 
Aiidmoielbcggenot. Exit. Alaruim. 

Enter (Jttnlctlme tnd Sejnmri, 

Sq. Tliis wiymyLoril.theC.iftlfS gently tcndrtd : 
The Tyrants pcoplf ,011 both (ides do fight. 
The Noble Thmci do branely in the VVarre, 
The day jlcnon it fclfe piofctTes yours. 
And httle is todo. 

AA/f. We limie met with Foes 
That fluke bcfidc vs. 

I 5f^. Enter Sit,tlieCanic. ExeHut, yjlariini 

Enter A-f^^fih. 

Afdc!>. Why fliould I pby the KotrjanFoole.and dye 
On mine ownelword? whiles lice liues.ihc^.inics 
Do better »ponthein. 

Snrer Micdujfc. 

f/lacd. Turne Hell-hound, lunie. 

Macb. Ot'ill men elfe 1 haiieauoydedthec : 
But get thee b.icle, my foule is too much chjtg'd 
With blood of ihtne already. 

iJ^tMcd I haueno words, 
My voice IS in my Sword, thou bluodiet Villaine 
Then teatmcs can giue thee out. fi^hi: yilArum 

M^cb. Thou looreO labour. 
At eafie may'ft thou the inirenchant Ayrc 
With t hy keene S won! impreflV.as make me bleed : 
Let fall thy blade on vulnerable CrcOs, 
I bearea chaimed Life, which niurt not yceld 
To owi of woman borne. 

Mud. Difpaitcthy Chirme, 
And letthc AnpelKvhoni thou dill haOferu'd 
Tell chee. Afacdujfe was fcomhis Mothers womb 
Vniimcly tipt. 

Mad. Aecurtfd be that tonpiie that tcis meefo ; 
For It haih Cow'd my better part ofnian : 
And be thefe lugling Fiends no more bcleeu'd. 
That palter with vs in a double fence. 
That keepe the word of promife to our eare, 
And breakeittooirrhope. lie not fight with thee, 

M.xcd. Then yceldthccCoward, 
And hue to be the fhew, and gaze o'th'time, 
Wec'l haue thee, as our rarer Monrtets ate 
Painted vpon a pole, and »ndet-vvt It, 
Heercmay you fee the Tyrant. 

Afacb. I will not yecld 
To kiffc the ground before young Afalcolmit feet. 
And to be baited vtith the Rabbles cutfe. 
1 hough IJyrnanc wood be come to Dunfinane, 
And thou oj^pos'd, being of no woman borne. 
Yet I will tiy the laft. Before my body, 
I throw my warlike Shield : Lay on AOcdnffr, 
And damn'd be him, that firft cries hold.enoiigh. 



Enter Eigbtiiig, and Mjcbethfuune. 

Rttre^t.jttd Fisuri/ht Enter nith Drumme lend ColtHrs, 
Atjdcalm,Styvxrd,Rij[eJhittei,(!r Soldier!, 

Ai*l, I would the Ftiends we mifTe, were fafeaniu'd' 

Scj. Some mull go off: andyetbythefelfce, 
So great a day as this ischcapely bought. 

AtA. ALsiiujfi is milTing,2nd your Noble Sonne. 

Rjjje Ygiirfoiiiiiy Lord.ha s paid afouldiets debt, 
Heonclyliu'dbuttillhewas a man. 
The which no fooner had his ProwelTe confirtn'd 
In the vnfliiiiiking flation where he fought. 
But like a nun he dy 'dc. 

5c/. Then he is dead? 

/Jc/TJ-I.andbrouglitoifthe field: your caiife of (birow 
Mufl not be mcafut'd by hit woith, for then 
Ithathnoend. 

Sey. Had hehisliuitebetore' 

'Rojfe. J.oniheFront. 

Sq. Why then, Gods Soldicrbe he : 
Had IasmanySonnes,asI hauehaires, 
I would not vvifli them losfatrccdcsth: 
And fo his Knell isknofl'd. 

At,t!, Hec's worth mote fotrow. 
And that lie fpertd for him. 

Sty. He"s worth no more, 
They f\y he parted well,and p.iid his fcore. 
And foOodbe withhim. Here comes newer comfort. 
Enfcr AUcd>iffe\mth Adichits hejd. 

AfAcd. Hiile Ki ig, for fo thou att. 
Behold whcieflands 

Th'Vl'urperscutfedhead: the timcisftee: 
I fee thee compalt with thy Kingdomes Pcmie, 
That (peakc my falutation in their minds : 

Whofevoyccsldefitealowdwithmme. 
Hade King of Scotland. 

yl!l. HailcKingofScotljiid. Flourilh, 

MaI. We (lull not fpend a large expence of time. 
Before we reckon with your fcucrall loucs. 
And make vs euen with you. My Thanes and Kinfonn 
Henceforth be Carles, thefiid that eiier Scotland 
In fiich an Honor namd : What's mote ttrdo 
Whichwouldbeplanted newly with thetin)e> 
As calling home our exil'd Friends abroad. 
That tied ihc Snares of watchfull Tyranny, 
Producing forth the crUell Minillers 
Ofchisdead Butcher.and hisFicnd-likeQueene; 
Who(3) -tis thought) by felfe and violent hands,' 
Tookcoffhethfe. This.andwhatneedfull elfc 
That call's vpon v.s, by the Grace of Grace, 
We will pertorme in mcaf ire.t ime.and place : 
So iliankes to all at once,and to each one. 
Whom we inuite, to fee vt Crown'd at Scone. 

r.'jur,/h. Exemi Otmei', 



FINIS. 



488 SOME ACROSTIC SIGNATURES OF 

Signature 202. 

This acrostic is found on the first column of the first page of The 
Tragedle of Hamlet, Prince of Denmarhe (see page 491), in the first 
Foho. 

Begin to read on the large ornamental letter W, with which the 
first line of the text begins; to the right; on all letters of «ZZ words 
(including stage-directions); downwards; spelling William Shake- 
Speare, ' you will arrive at the initial E of the word ' Exit." 

Begin to read from the initial F of the name ' Fran,'' which stands 
under the words ' Who's there ? '; to the right; downwards; on all 
the letters of all the words; spelling Francis Bacon, you will arrive 
at the letter N in the word ' thaNkes' (ninth line). 

Begin to read from the initial F of the word 'Fran,^ which follows 
the word ' Fxif; to the right; upwards; on all the letters of all the 
words ; spelling Francis Bacon, you will again arrive at the same 
letter N of the word ' thaKkes.' 

* N. B. — The name William Shakespeare may be spelled with or without the 
hyphen. 



FRANCIS BACO:^ 489 



The complete acrostic figure here is : — 
''Ho's there ? 
Fran 
R 



w 





I A 




L N 




c 




L I 




I S 




A B 




A 




M c 




s o 


V this 


releefe much thaNkes 




H O 




A C 




K \ 








S I 




P c 




E IS- 




A A 




R R 




Exit Fran 



490 SOME ACROSTIC SIGNATURES 

Note the line which immediately precedes the words ' Exit Fran.'' 
Itis:— 

Fra. Barnardo ha's my place: giue you goodnight. 

Now note the name that runs from the first F to the last N in this 
line : — 

FRA. B Arnardo ha's my plaCe ; giue yOu goodNight. 
FRA. BA C O N 

Compare this signature with that found in the Quarto of 1604. (See 
p. 547.) 

Note the position of the line: — 

Fr a n. Barnardo hath my place, giue you good night. 
FRAN BA CON 



THE TRAGEDIE OF 

HAMLET, Prince of Denmarke. 



QyfHus Trimus. Secern Trimai 




Enter "Barnitrdi md Frmcifit two Ctmineh. 

"Btrntris. 
Ho's thtte i 

Fran. Nay anfwer me . Stand & vnfold 
your felfc. 

Bar, Long tiue the King. 

fritn, Bifrnitrdo} 

Fran, Youcomemofl citcfijllyvponyourhourc. 

^<«r.Ti» now flrook twcluc.gci thee to bed frmci/co. 

Fran, For this releefe much thinker: 'lis bitter cold. 
And I am ficke at heart. 

"Sitrn, Haue you had quiet Guard? 

Fran- Not aMoufeftiiting. 

"Sara, Well, goodnight. Ifyou do meet //«'"'«> and 
AfarccSiu, the RiuJls of my Watch.bid them make hafl. 
£nter Horatio and Afarcellus- 

Fran. Ithinkelhearethem. Stand, who's there? 

//or. Friends to this gtound. 

A£ir. And Leige-mentotheDane. 

Fran, Giue you good njght. 

?liir. Ofarwelhoneft Soldier, who hath iclieu'd you? 

Frd. 3^fl4ni)ha'« my place giueyou goodnight. 

Exit Fran. 

A6tr. HolWBarttarilo. 

"Bar. Say.whitijHoro/Mthete? 

tjor. A pcece of him. 

'Sar. Welcome Woraf/o.wclcomegood MarceSia. 

Mar. What.ha's this thmgappeai'dagaine to night. 

Bar. Ihaucfeenc nothing 

, AFar. Horatio faics.'iis but out Fantafie, 
And will not let beleefc take hold of him 
Touching thiiditaded light, twicefcene of n. 
Therefore I haue inttcated him along 
With v«, to watch the minutes of this Night, . 
That ifagaine.ihii Apparition come. 
He may approue our eyes, apd fpeake to it. 

T/or. Tufh.tufh, 'twill not appeare. 

Bar, Sit downea-whilc. 
And let vs once againe adaile your caici, 
That are fo fortified againfl our Story, 
What we two Nights haue feene, 

Hirr. Well, fit we downe. 
And let vs hears Banario fpeake of thi». 

Bxrn. laH night of all. 
When yond fame Scarre that'i Weftward from the Pole 
Had made bis courfe tMlume that part of Heauen 



Where now it burnes, Marcellm andmy felfe, 
TiieBcil then beating one. 

<J\ttr. Peace,breake thee of : Enter thtghofi. 

Lookc where it comes againe. 

Barn, In the fame figure, like the King that's dead. 

M^r. Thou art a Scholler; fpeake to it Horatio. 

Barn, LookcsitnothkeiheKingPMarkeitHoMfw. 

Hora. Moll like; It hatrowcime with fear & wouder 

Titan, It wouldbefpoketoo. 

Attr. Queftion it Horalit. 

Hot. What art thou that vfurp'fl rhistiircof oighr. 
Together wiih that Faire and Warlike forme 
In which the MaicOy bf buried Denmarke 
Did fometimes march ; By Heauen I charge thee fpeake. 

Mar, It is offended. 

Barn. See,it Halkes away. 

Hor. Stay: fpeake; fpeake; I Charge ihee.fpeake. 
Exit the Chofi, 

Mar. Tisgone.aod will not anfwer. 

Barn. How now Horatio ? You tremble 8c look pale : 
IS not thu fonicthing more thea Fantafie ? 
What thinlce you on't ; 

Ihr. Before myGod,ImightnotthUbcleeue 
Without the fenfible and true auouch 
Ofmine owne eyes. 

Mar. Is it not like the King? 

Har. As thou art to thy felfe, 
Such was the very Armour he had on, 
When th'Ambitious Notwey combatted : 
So frown'd he once, when in an angry parle 
He fmot thefleddedPollax on the Ice.. 
'Til lltange. 

Ttlar, Thus twice beforejand ion at thisdeadhoiite. 
With Martiall ftalke, hath he gone by our Watch. 

//si-.ln what particular thought to.workjl know no^: 
But in the grofic and fcope of my Opinion, 
This boades fome flrange erruption to out State. 

Mar, Good now fit downe,& tellmehethat knowcJ 
Why this fame dtiifl and mod obferuant Watch, 
So nightly toyles the fubiefl of the Land, 
And why fuch dayly Caft of Brazon Cannon 
AniJ Forraigne Matt for Implements of warre : 
Why fuch imprelTe of Ship-wrighrs.whofe fore Taske 
Do's not diuide the Sunday from the weeke, 
Whatmight be toward, thantefweaty haft 
Doth make the Night ioynt-Labourcr with the day : 
Who ist that can infomie njti- 
//or. That can 1, 

At 



492 SOME ACROSTIC SIGNATURES 

Signature 203. 

These acrostics are found in the last page of The Tragedie of 
Hamlet, p. 282, but wrongly numbered 280. 

Xote that the initials of the first words of the first and last lines of 
Horatio's last speech are O and O of the words ' Of and ' On.' In 
other words they are two ciphers. 

Begin to read from the initial O of the word 'Of; to the right; on 
all the letters of all the words; downwards; spelling Onocab, you 
will arrive at the letter B of the word ' be.' 

Begin to read from the initial O of the word ' On '; to the right; 
on all the letters of all the words; upwards; spelling Oxocab, you 
will arrive again at the letter B of the word ' be.' 

Here we have a cipher keyed from two ends of a paragraph to a 
central point. 

The acrostic figure here is: — 

Of that I shall haue, etc. 

O 

c 

A 

But let this same Be presently performed 
A 
C 
O 
N 
On plots, etc. 
Beare, etc. 
For, etc. 



I! 



z8o 



The Tragedie of Hamlet. 



Thit RffncTaoci aad Cuil^nfleme ire dead ; 
Where Ibould we haae our ihankci f 

Htr. Notftomhii<nouth, 
Had'icth'abilicicoriiretoihankeyou : 
He neucr eaue command'mcm for their death. 
But fince to iui^pe vpon this bloodie qucHion, 
You from the Polake watrcj, and you from England 
Are hccre arriued. Giue order that ihefc bodies 
High on a ftage be placed to the Tiew, 
And let me fpeake to th'yet vnknowing world. 
How the fc thmgi came about. So (liallyou hearei 
Of camall, bloudie, and rnnaiurall t£[s. 
Of accidcniall "idgcments, cafuall flaughtcrt 
Ofdeath'sputonby cunning, and forc'dcaufe. 
And in thi« »pfhot, purpofci mirtooke, 
Falne on the Inuentots heads. All this can I 
Tiulydcliuer. 

For. Letvshadcoheareit, 
And call the Nobleft to the Audience. 
For roe, with foirow, I embrace my Fortune, 
I haue fome Rites of memory in this KingJome, 



Which are ro claim*, tny vantage doth 
Inuiteme, 

Her. Of that I ftiall haut al wayei caufe lo fpealar. 
And from his mouth 
Whofc voyce will draw on more : 
But let this fame be prefently pcrform'd, 
Euen whiles mens mindej ate wilde, 
Left more mifchance 
On plots, and errors happen. 

Fcr. LetfouteCaptaines 
Bearc H4mtei like « Soldier to the Stage, 
For he was likely, had he beeneput on 
To haue prou'd molt royally : 
Andfor hispaffsge. 

The Souldiours Mu(itke,and the rites of Warre 
Speakc lowdly for him. 
Take vp the body ; Such a fight as this 
Becomes the Field, but heeie Oiewcs much amis. 
Go, bid the Souldicrs fhoote. 

Exemt i^rnrchittg : nftir tht «bkb, * Pttlftf 
Ordenance arejhet e^. 



FINIS. 




494 SOME ACEOSTIC SIGNATURES 

Signature 204. 

This acrostic is found in the speech by Hamlet which is headed 
in the FoHo Manet Hamlet. It is the speech made by Hamlet to 
himself when he is alone for the first time. It is foimd on the third 
page of the play. (See p. 495.) 

N^ote that the initials of the first words of the first and last lines 
respectively are O and B of the words ' Oh ' and ' Biit.' 

Begin to read from the initial B of the word ' But ' ; to the right ; 
upwards; on the initials of the words of the text; spelling Bacono, 
you will arrive at the initial O of the word ' Oh.' 

The acrostic figure is: — 

Oh that this too too solid Flesh, would melt, 

N 

O 

C 

A 

But breake my heart, for I must hold my tongue. 

It is worth recording that I was directed to this acrostic by notic- 
ing that the numbering of the page 156 jumps to 257 on the next 
page. As I could find nothing on either of these pages I amused 
mj'self by adding their page-numbers together. This yields 413. I 
then counted 413 lines from the top line on the right-hand column 
on page 257 back towards the beginning of the play. The 414th 
line from my starting-point is: ' Manet Hamlet.^ 

This statement may be verified by any one who has access to a 
facsimile of the first Folio. It should be in any well-equipped 
library. 



I _?H 



TT^Tr^edieof Haniiet. 



YoutoWvtoffomefuite. Whati»'ct«rt«? K Thitvnpreoajrljiig woe, and thitjct of v» 

YoucaisnocfpeakeoiRjafoQcoiheDanc, AJofiFaih<:r;Forl«iheworUui*nctf. 

And loofc yoirr. »oyce. Wh« wou Wft chcu beg Lmiu, You ire ihe luofl immediate to our Throne 
Tlut Jhail not be my Offirt, not :hy Asking? . . . . _ . uuur. 

The Head ia not more Naiiue lo the Hcarc, 
The Hand more Inftnimciuall cothc Mouth, 
Then is the Throne of Denmarke to thy Father. , 
What woutd'D thou hauei,iit«« i 

Lur. Dread my Lord, 
Your Icaue and fauout to renime to France. \ 
From whence, though wilhngly 1 came to Denmarke 
To fticw my duty in your Coronation, 
Yet now I mud confcrfe,that dmy done. 
My thoughts and wifhti btnd againe towards France 
And bow ihcm to your gracious leauc and pardon. 

Kin^. Hauc you yout Fathers Icaue f 
What fayf! Pollnnita ? 

Pfl. He hath my Lord.': 
I do befcech you giuc him Iciiie to go, 

Kin^. Take thy faite hourc Laertti, time be thine, 
Andthybeft graces fpend it at thy will : 
But now my Cofin Hamlet, md aiy Sonne ? 

Hxm, A little mote then km, and Icffcthenkinde. 
iVit^. How is it that the Clouds fl ill hang on you? 
/iam, Notfomy Lord, lamtoonmch I'lh'Siin. 
,§»««. Good H*mlet caft thy nightly colour off. 
And let thine eye looke like a Friend on Denmarke. 
Do not for euer with thy veylcd lids 
Seekc for thy Noble Father in the duft ; 
Thou know'rt'tis comnion,ilI that liues mufl dye, 
Pairing through Nature, to Eternity, 
Hilt. IMad]iTi,itiscommoa, 
Quieit. If It be; 
Why feemes it fo particular with ibfe. 

Him Scemes Madam? Nay.it is ; I know not Seemes 
'Tis not alone my I nky Cloake (good Mother^ 
Not Cullomsry fuites of folcmne Blacke, 
Nor windy fufpiiation of forc'd breath, 
No, nor the fruitfull Riuct in the Eye, 
Nor thedcicfledhauiourofthe Vifage, 
Together with all Foroiet, Moods, fliewesofCtiefe, 
That can denote me truly. Thefc indeed Seeme,; 



For they are anions that a man might play : 
But I haue that Within, which paffcih (liow ; 
Thcfe, but the Trappings, and the Suites of woe. 

Ki"£. 'Tis fvveet and commendable 
In yout Nature Htmlit, 
To giue thefe mourning duties to yout Father : 
But you muft know, yout Father lofl a Father, 
That Father loft, lort his , and the Sutuiuer bound 
In filiall Obligation, for feme terme 
To do obfequious Sorrow. But to perfeu et 
In obrtinateCondolcment.isacoutfe 
Of impious ftubbornncfle. Tis vnmanly |tecfe, 
It ftiewes a will moft incotiefl to Hcauen, 
A Heart vnfottificd, a Minde impatient. 
An Vnderftanding fimple, and vnfchool'd : 
For.what we know muft be, and is as common 
As any the moft vulgar thing to fence. 
Why ftiould weinout peeuifh Oppofition 
Take it to heart ?Fye, 'til 4 fault lo Heauen, 
Afaultagainft the Dead, a fault <o Nature, 
ToReafonmod abfurd, whofe common The Jme 
Is death of Fathers, and who flill hath cried. 
From the fiift Coarfe.till he that dyed to day. 
This muft be fo. We pray you throw to earth 



, Throne, 

Anti with nolefle Nobility ofLooe, 
Then that which deerc ft Father bcarei his Sonne 
Do I impart towards you. Foryourimeiit ' 

In goingbacke to Schoole in Wittenberg. 
it IS moft retrograde to out dcfite : 
And we befcech you, bend you to remaine 
Heeie in the chect e and comfort of our eye. 
Out cheefeft Courtier Cofin,and out Sonne 

£». Ln not thy Mothet lofe her Prayera Hmkt ■ 
I prythee flay with v», go not to Wittenberg 

H4m. Iftsallinallinybcft 
Obey you Madam. 

King. Why Vis a louing.snd a faireReply, 
Re at our fclfe in Denmaike. Madam come. 
This gentle and vnforc'd accord of //<«/« * 
Sits fmiling to my heatt ; in grate whereof 
No iocond health that Dtnmaikcdrinkes to day. 
But the great Cannon to the Clowds (hall tell. 
And the Kings Rouce.the Heauens ftiall bruiie' 'gaine, 
Rcfpeaking earthly Thunder. Come a way. £««« 

CMixet Htmlet. 

Ham. Oh ihat this too too folid Flefli, would melt. 
Thaw, and rcfoluc it fclfe into a Dew : 
Or that the Eucrlafting had not fi«t 
His Cannon 'gainft Sdfe-flaughtcr. OGod,OGod ! 
How'wcary.fijie.flat.andvnprofitable 
Seemes to me all the vfcs of this world ? 
Fie on't ? Oh fie, fie, 'tis an vnwcf dcd Garden 
That gtowes to Seed ; Things rank, andgroficin Nature 
PolTeffe it mecrely. That it Oiould come to this : 
But two months dead :Nay,not fo much; oot two. 
So excellent a King, that waste this 
//i/JfriontoaSatyrc : folouing to my Mother, 
That he might not bete ene the windcs of hcauen 
Vifu bcr face too roughly. Hcauen and Earth 
Mufti tetrember : why (he would hang on him. 
As if encreafe of Appetite had growne 
By what It fed on ; and yet within a month ? 
Let me rot thinkc cn'c : Frailry, thy name is VJonjan, 
A little Monih, or ere ihofe fhoocs were old. 
With which (he followed .my poote Fatheisbod/ 
LikeA'«^f,all teares. Why Oie,euen(he. 
(O Heauen ! A beafl that wants difccuifc of Reafon 
Would haue mourn'd longer) married with mine Vnkle, 
My Fathers Brother ; but no more like my Father, 
Then I to llercnUs. Within a.Moneth? 
Etc yet the fait of moft vnrigtitcous Teate* 
Had left theflufhing ofhcrgauled ryes, 
She married. OmofI wicked fpeed.'opoft 
With fuchdexterity tolnceftuous (heets : 
It is not, nor it cannot come to good. 
But btctke my heatt, for I muft hold my tongue. 

Zvttr Herait^'Sitrntrd, tai Mottllm. 

HcT, HailetoyourLordlhip, 

Hiim, I am glad to fee you well: 
Hermit fii I do forget my fclfe, 

I/ar. The fame my Lord, 
And your poore Scruant euer. 

Htm, Sir my good fiicnd, 
lie change that name with you : 
And wliae nuke youfi cm Wittenberg //»fii/« ? 

Afjr. 



496 SOME ACROSTIC SIGNATURES 

Signature 205. 

This acrostic is found on page 258 of The Tragedie of Hamlet. 
I noticed that the paging of this play skips from page 156 to 257, 
and that 259 is repeated where 279 sliould be. This led me to scan 
all these pages. I noticed that the last two lines of the first column 
of page 258 are : — 

Hor. Good my Lord tell it. 
Ham. No you'l reveale it. 

I also noticed that the initial of the first word of the first line is 
the B of ' But.' 

Begin to read from this initial B of the word ' But ' ; downwards ; on 
the initials of the first woi-d of the lines of the text; spelling Bacon, 
you will arrive at the initial N of the word ' No,' which is the first 
word of the last line. 

The acrostic figure here is : — 

But soft, methinkes I sent the, etc. 

A 

C 

o 

No you'l reveale it. 

If the wrong paging of this play is intended, or if advantage has 
been taken of it, to attract the reader, I cannot see any method by 
which it does so; except in the instances to which I have already 
called attention. 



I y^ 



TheTrase(Ue ef^mUf. 



But rofc.aiechiakcs I fent the Morningt A^rc; 

fiiicfel«inebc : Sicking tvithia mine Otdiud, 

tAf cuflotne alwayei in the afccrnoonc; 

Vpoo my fcctire howtr chy Vncle Hole' 

With iuyce'ofcuffcd Hcbtnon in a VioJI, 

And in the Porches of mine eatcs did poure 

The leaperous Diftilmeni; whofe effefl 

Holds fuch an enmity with bloud of Man, 

Thatfvtifias Quick-filuer. it courfes through 

The naturall Gates and Alhf • of iheflody ; 

And with a fodaine vigour it doth polTet 

And curd, like Aygre droppings into Miike, 

The thin and vvholfome blood : fo did it mine ; 

And a moft inftant Tetter bak'd about, 

Mod Laiat-like, with vile and loathforoe cnift, 

AU roj^Onooth Botfy. 

Thus was I . deeping, by a Brothers hand. 

Of Life,of Crowne, and Queene at once difpaccbt ( 

Cut off euen in the BlolTomes of my Sinne, 

Vnhouztlcd, difappointed, vnnancid, 

No reckoning made, but fent to my accouoc 

With all tTiy imperfeftiontonmy head; 

Oh horrible Oh horrible, moft horrible: 

If chon hafl nature in thee heare it not; 

Let not the Royall Bed of Denmatke b« 

A Couch for Luxury atM damned InceR. 

But howfoeuer thou purfueft this Aft, 

Taint not thy mind looj let thy Soule conirlue 

Againft thy Mother dught; leaue her to heauep , 

And to thofe Thornes that in her bofome lodge, 

Toprickeand fting her. Fare thee well at once; 

TheGlow-Wforme fhowes ibe Matine to he neete.i 

And gins to pale his vneffeiOuall Fire; 

Adue,adue,Wii»>/;r.- remember me. £xit. 

Hum Oh all you hoft of Heauen ! Oh Earth, what tls? 
And (hall 1 couple Hell .' Oh fie : hold my heart; 
And you my fjnnewes.grow not inOant Old; 
Butbeareme fliffcly vp: Remember thee ? 
I, thou poore Ghoft .while memory holds a feate 
Id this dift'afled Globe : Remcmbtt thee i 
Ye»,fronj the Tabic of my Memory, 
He wipe away all triuiall fond Records, 
All fawes of Bookes.all formes, all prcfures paO, 
That youth and obfcruation toppled there; 
And thy Commandment all alone (hiU liue 
Within the Bcoke and Volume ofmy Brainr, 
Vnmixt with bafer matter; yes,yes,by Heauen ; 
Ohmoft pernicious woman! 
Oh Villaine.Villaine, fmiling damned Villaine } 
My Tables.my Tables; meet it is I fei it downe. 
That one may fmile.and fmile and be a ViUaioei 
At leaO I'm fare it may be fo in Denmatke ; 
SoVnckle there you ate: now to my word; 
It is; Adue,Adue, Remember me: I hauefwom't. 

//«r (j- Mar. within. My Lord.my Lord, 
EffttT HoTdtit and MarctSm, 

M*r^ Lord Himltt. 

Hut, Heauen fecure him. 

M<ir. So be it. 

//"■■ lllo,ho,ho,niy Lord. 

Htm. Hillo,ho,ho,boy(comebird,coiBe. 

Mar. How ifl't my Noble Lordf 

Hiff, Whatnewes, my Lotd? 

Ham. OhwondetfuH! 

Hbt. Good my Lord tell it, 

Haiti. Noyou'Itcuealcit. 



\ 



/fur. Not 1,07 Lord, by Heauci). 
AOr. Uerl,oijLotd. ftUnkit? 

Ham. Howftyyou tbCOtWOttldheailofnupoDcc 
But youl be fecreti 

"Both. I,byHeau'n, myLoriL 
Nam. There'snereaTiliamtdwtfluginallDeDiioriie 
But hee's an arrant knaue. 

Hot. ThereneedinoGhoftmyLord.ccmc&OBthel 
Graue,to tell ¥« this. 

Ham. Why right.yoBifei'th' right; 
And fo, without more circumfiance at alli 
^ I hold It fit that we Ihake hands.indfiart: 
You,as your bufmei and defires (hall poioi youj 
For euery man ha'i bufineflc and defire, 
Such as it is : and for mine owne poore part, 
Looke you. He goe pray. 

//or. Thefeaic but wild and hurling Mvords,fsy Lord. 
Ham. 1 'm forry they offend you heartily : 
Yes faith heartily. 

Hor, There's no offcncemy Lord. 
Ham. Yes, by Saint /'4iriri^iT,but there ij my Lord, 
And much offct>te too, touching this Vifion heeic : 
It IS an hone ft Ghofl, that let me tell you ; 
Pot your dcfire toknowwhat iibetweenevs, 
O'temartei't as you may. And now good fricods^ 
AjyouareFriend5,ScholletsandSoldier», 
Giue me one poore requcft. 
Hot. Whaiislmy Loidf wewUI. 
Ham Neuer make known what you hauefeco to night. 
'Both. My Lord we will not. 
Ham Nay.bui fwcar't. 
He. Infaithmy Lord.notL 
Afar. Nor I my Lord : in faith. 
Ham. Vponmyfwotd. 
Marcel!. We haue fworn; my Lord already. 
Ham Indced,vponmyfword Indeed 
Cha. Sweare. Chc/I criii vsdtr thtSttr^t. 

Ham. Ahhaboy.fayeft thou fo. Art thou tbert true- 
penny ? Come one you here chiifellonuithcicUucdgc 
Confcnt to fwcare. 

H'r. Propofe the Oath my Lord. 
Ham Neuer to fpeake of this that you hauefccOCi 
Sweare by my fwotd, 
Cht. Sweare. 

Ham. Hie & vlntjutt Then weel Qiift for growod. 
Come hither Gentlemen, 
And lay your hands agaioe vpon my fwordk 
Neuer to fpeake of this that you hauc heard: 
Sweareby my Sword. 

C*ff Sweare. (faft? 

Ham, Well faid old Molc.can'rt workei'th' ground fo 
A i»orthy Pioner.oncemore remoue good frimdi. 
H". Ohday and night:but this i> wondrotn ftraoge 
Ham, Andtheiefoteatafltangergiueit welcome, 
There are more things in Heauen and Earth, Hirttit, 
Then are dream'i of in our Philofpphy But comt, 
Here as before, oeuetfoheipe you mercy. 
How ftrange or odde fo ere I beare my (clfe; 
(As 1 perchance h^ereafter fhall thuke meet 
To put an Anticke difpofuioo on :) 
That you at fuch time feeing me, ncoerfhall 
With Armes encombred thus, or thus, head ftiake; 
Or by pronouncing of fomc doubtful! Phrafe; 
As wcU.we know.or we could and if we would. 

Or if we lift to fpeake i ortherebeaod if tb<teicigh( 
Or fuch ambiguous giuiitg oat to note. 

That 



498 SOME ACROSTIC SIGNATURES 

Signature 206. 

This acrostic is foimcl on the first page of The Tragedie of King 
Lear. 

Begin to read on tlie initial (capital) N of the word ' ^Nothing,' 
■which is the last word of the text of the second column; to the 
right, or to the left; on all the roman capital letters; upwards; 
through one column after another; spelling Nocab Sicnarf, you 
will arrive at the capital letter F of the word ' OF,' which is the last 
word of the first fine of the title (' THE TRAGEDIE OF '). 

The reading may be made with the same results if all capitals, of 
every kind, are used. 

The acrostic figure here is : — 

THE TRAGEDIE OF 

R 
A 

C 
I 

s 

B 
A 
C 

o 

Nothing ? 



'■^0 







THE TRAGEDIE OF ! 

KING LEAR. 



zyf^iis Trimus. Scccna T^rima. 




Enter Ktitt, C/iMMjltr, md Sdamd. 
Knt. 

iThoughc the King bad more iffcfltd [lie 
Duke o{yiitmr,ihm CtnnwtU. 

CIm. It did alwayes feeme fo to »j : But 
lojt in tfcc diuilian of tlie Klngdomc, it ap- 
pcare5no( which afiheDttkn hce talewct 
moll, fat quiliiiu are fo weigh 'd, tfaatcurioliiy in aei- 
cher, can maiie choife of cithers moity. 

Knt, Ii not this yout Son, my Lord? 

^h*. Hij breeding Sir.hath bin at try charge. Ihaue 
fo often bluda'd to acknowledge him, that now lain 
braz'dtoo't. 

Ks^. Icjnnof conceiueycu. 

C/«». Sir.JiijyongFellowei mother could; where- 
upon C-.e grew round womb d, indhid indcede (Sir) a 
SonnerorherCrad!e,erefliehad a husband for hex bed. 
Do you fmcll a fault ? 

kcnt. I cannot nidi the Fault TndonCj the ifTueone, 
being fo proper. 

c7o«. But I haueaSonne, Sir, byorderofLaw/ome 
yeere elder [ben this ; who, yet is no deerer in my ac- 
count, though this Knaue came fomthingfawcily to the 
world before he was fent for : y« was hi j Mother fayre, 
there was good fport at his making, and the horfon mud 
be acknowledged. Doe yauluiow this NoblcGentle- 
man, Edmomd} 

£dnt. No, my Lord. 

C.W. My Lord of Kent: 
Remember him heeteafter,3» my Honourable Friend. 

f j'rx. My feroicei to your Lordthip. 

Knt. I mud loue you, and fue to know you beaer. 

fdm, Sir,l(hallftudydeferuing. 

Clai4, He hath bin out nine yeires, and away he (lia'il 
agaicc. The King is comming. 

Sfmct. ZjilCT Kmg Lttr, Cartas/!, ^lianj, Ctntrilt, Re- 
^fi, Csrdsiiit'tndxiteKdAntt. 

Lur. Attend the Lords of Fiance & Burgunrfy.Glofler. 

C/m. I (hail.my Lord. Exit. 

Ltar. Meaoe time we (lial expreffeour darker purpofe. 
Giue me the Map there. Know, that we haue diuidcd 
In three our K'Ogdome: and 'tis otirfaft intent. 
To fhake alt Gates andBufinelTe from our Age, 
Conferring them on yonger flrtngth;, while we 
Vnburthen'd crawie coward death. Our Ion oiCtrmralf 
And ysu out no leiTc !ouin<; Sonnepf j'^/^j/t'. 



We haue this houte a conilant will tc publiilj 
Our daughters feuerall Dowers, that futmeflrife 
May beprcueiuednow ThePmKes,fri«f i5«r?iuriA, 
Great Riuais in our yongel^ daughters loue. 
Long in our Court, haue made their amorous fbioume. 
And hccre arc to be anfw ei'd. Tcil me my daughteis 
(Since now we will diuel) ys both ofKule, 
Interefl of rerritory , Cares of Srate) 
Which of you fhall we fay doth loue »s moft. 
That we, ourlargeil bouiuie may extend 
Where Nature doih with merit cbailctige, QmtnO, 
Out eideft borne, fpeake fitrt. 
Gw.Sir, Iloueyoumorethen word cm weild^tnattcr, 
Deererthen eye-fight, fpsre, jud Ubeitie, 
Beyond what can be valewed, rich or rare. 
No lefTethen life, with grace, health, beauty, honor: 
Ai much IS Childe c-e lou'd, or Father found. 
A loue that makes breath poare.and fpeech ynable, 
Eeyondallmannerof fo much 1 loue you. 

Ctr, Whar iTjall Catdtln fjjeake.' Loue.and be filenr. 
Z.f«r .Of ail ihefe bounds cnco from this Line,to this. 
With (hadowie Fotrefts,and wiih Champains rich'd 
With plenteous Riuers.and wide-skirted Mcadei 
We make thee Lady. To thine and ./</^ioiiW!iruej 
Be ihis perpKuall. What layes our fecond Daughter? 
Our dccr«3 Scgtn, wile ofCarai»/u7 .' 

3^. lam made of that felfe-mcttle as my Sifler, 
And prize me at her woith. In my true heiit, 
1 finde ITieijamesmyteTy deedc ofloue : 
Onely (lie comes too fliort, that I profdfi: 
My felfe an enemy to all other ioyes. 
Which the mort prectou! fquare of fctifeptcfeffej. 
And Rndc I am alone felicitate 
In your decre Hi ghnefle loue. 
^tn-. Then poore Carif/ij, 
Aaiiyctnotfo.lTiicel amfiiretnyloae't 
More ponderous then my tongue. 

Letr. To thee.and thine herediririe eoet, 
Remaine this ample third of our faire KingdoniCu 
No leiTe in fpace, vjliditie, and pleafure 
TIwii that conferr'd <m ComtriU- Now our loy. 
Although ourlafl and leall : to whole yong lour. 
The Vines of France, and MilkeofBurgundie, 
Striue to he inrererf. What can you lay, la draw 
A third, more opUcnt then your SUltis? Iptakca 
Car. Nothing my Loid. 
Lear. Nothing? 

qq * C-r 



500 SOME ACROSTIC SIGXATURES OF 

Signature 207. 

This acrostic is found on the page facing the last page of The 
Tragedie of King Lear. It is wrongly numbered 38 instead of 
308. (See p. 503.) 

Observe the phrase ' (O fault) ' in brackets, four lines from the 
foot of the left-hand column. In the Quarto of 1608 this phrase is 
' (O Father).' 

Observe also the initial of the first word in Edgar's speech is the 
letter B of the word ' Bv,' and the initial of the first w^ord of the 
last line in the same speech is the B of the word ' Burst.' 

Begin to read from the initial B of the word 'By' ; to the right; 
downwards; on the initials of the words of the text; throughout the 
speech and back continuously mitil you have spelled Bacoxo: you 
will arrive at the letter O in the bracketed i^hrase '(O fault).' 

Begin to read from the initial B of the word 'Burst' ; to the 
right; upwards; on the initials of the words; spelling Bacoxo, you 
will arrive again at the letter O in the phrase ' (O fault).' 

The acrostic thus reads to a common point from the initial of the 
first word of the first line of Edgar's speech, and from the initial of 
the first word of the last line of the same speech. 



FEANCIS BACON 501 

The acrostic figure here is : — 

By nursing them my Lord. 
A 
C 
O 

( O fault ) 
N 
O 

c 

A 

Burst smihngly. 



502 SOME ACKOSTIC SIGNATURES 

Now begin to read from the initial F of the word ' fault,' to the 
right; upwards; on the initials of the words of the text; spelling 
Fravncis Bacon, you will arrive at the initial N of the word 
' name.' 

Now begin to read from the initial A, the first word of the first 
line, on the column; to the right; downwards; on the initials of the 
words of the text; spelling Anthonie Bacon, you will arrive again 
at the initial N of the word ' name.' 

The acrostic figure here is: — 

A most Toad-spotted Traitor. 
N 
T 
H 
O 
N 
I 
E 
B 
A 
C 
O : hold Sir, 

Thou worse then any Name, reade thine owne euill : 
O 
C 
A 
B 
S 
I 

c 

N 

y 

A 
R 

(O Fault) 



1 



58 



AmoftTo«d.fpottedT«i£or. Say thou no, 
Thi» Sv»ord,thi» irmc.jnd my bed fpiriti ate bent 
Toproue vpon;thy heirt, whereto I fpeake, 
Thoulyeft. *^ 

3^/?. Inwifedomelfl)ouldaiko(hynjme, 
But fince tby oui-fidc lookei fo fiire and Wadike, 
And that thyronguc(fome fay) of breeding breathes, 
What fafe.and nicely I might well delay, • 
ByruleofKnight-bood.ldifdainrandfpurne.' 

IBatkedo ItoflethefeTteafonjto thy bead. 
With the hell-hated Lyc.ote-whelmethy h«art. 
Which for theyyet glance by.and fcajcly bruife, 
rhii Swofd of mine fhall giue them inrtant way. 
Where they niallreft fot euer. TFumpcti fpeakc, 

jili. Sauehim.faije him. jiUrumi. fithlt. 

Cft. ThliiipraaifeC/oy/rr. 
By th'law of Warre.ihou waft not bound to anfwer 
Anvoknowneoppofite.ihouartooivanquKh'd, 
But cozend.and bcguild, 

jilt. Shut yout mouth Dame, 
Or with thu paper fhall I ftop it : hold Sir, 
Thou wrorfe then any name.reade thine owne eulll : 
No tearing Lady, I perceiue yofl know it. 

Cim, Say if 1 dojthe I awej are oime not thine. 
Who can araigne me fot't ? Exit. 

^li. Mofl monrtrous ! O.kiiow'ft thou this papcif 

3<«/?. Aike me not what 1 know. 

.Alt. Goafier hcr.fhe'sdcfpeiate.gotietnehtr,/ 

"Biijl. What you hauechaig d me with. 
That haue I done. 

And more.much mote.the time will bring it out. 
Tiipaft.andfoaml : But what ati thou 
That had this Fottuae or. me i If thou'tt Noble, 
Idoforgiuethee. 

EJ^.- Let*! exchange chanty: 
I am no leflc in blood then thou art Ednund, 
If more,the more thhaft wron g'd me. 
My name ii f <^<«r and thy Fathert Sonne, 
The Godi are luft.and of our pleafant vicei 
Make inftrumenij to plague vs i 
The darke and vitioui place where thee hegot, 
Conhimhiteyei. 

"Btfl. Th'haft fpokcn right/iii true. 
The Wheeleijcomc full circle, I amheere. 

Alb. Me thought thy very gaie did prophcfie 
A Roy all NoblcnclTe : I muft embtace thee, 
Lcifotrow fplitmy heart, ifeueil 
Did hate thee.or thy Father. 
Big. Worthy Prince I know't. 

jiA, Where haue you hid your felfc? 
How haue you knowue the mifetiei of your Father? 
Sig. By nurlingthemroy Lord. Lift a breifetale, 
And when 'tit totd,0 that my heart would butft. 
The bloody proclamation to efcape 
That foUow'd me fo necre,(0 our liuei fweetnelTe, 
That we the paine of death would hourely dye, 
Ratherthendie atoncc)ta(ightme tolhift 
Intoamid-mansraga.i'alTumeafcniblance 
T'httveryDoggesdifdain'd ;and in this habit 
Met I my Father with hi) bleedingRingi , 
Their preciout Stonci new loft.became hii guide, 
Led hin.begg'd for him,rau'd him from dilpiire. 
Neuer(Ofault)reueard my felfevDtoj'in'i 
Vntill foroe halfe houre paft when I v»>t arm'd. 
Not fute.though hoping of thi j good fucccffe, 
I atk'd bii blci]ing,aod from firfl to laft 



TJjeTragedie ofKjJp^Lear, 



Told him our pilgrimage. But hij flaw'd heajt 
( Alacke too weake the corflifl to fupport) 
Twiit two eitremei of paflion.ioy tad creefr 
Burftfroilingly. ' > h > 

'Baft. Thu fpcech of youri hath mou'd roe 
And fhallpeichaocedo good.bnt fpeake you on 

You looke at you had fon.cthing more lo fay, 
j4U). I f there be cBore.nioie y»oful!,hoid it in 

Fot I am almoft ready to diffoluc. 

Heating of thit. 

Enter M Ctnilemat. 

Cin. Hclpe.helpeiOhelpe. 

tdg. Whatkindeofhelpe? 

ytlt, Speakeman. 

td^. Whaimeanesthisbloody Kni'e? 

Cm. 'Ti«hot,itfmoakej, iccaffleeuenfjomihcbein 
of O (he 1 dead. 

t^lt. Who dead ? Spe ake man. 

Cm. Your Lady Sir.your Lady; and hei Sifter 
I Byher i»poyfond:D>econfcffcsir. 

Baft. Iwa»conttaiaedtothemboth,»Uihje* 
Nowmairy in an inflant. 

idg. Here comes /Tm/, 

Enter Kitt, 
^It. Pfoduce tbcbodics.be they aliueor dead; 

ComnitdiJilKe^Mni tediettremeht tut. 
This iudgement ofihe He Jutni that makesTi ttemblci 
Touchca vi not with pmy 0,is ihis he f 
The time will not allow the complement 
Which very manners »rges. 

ifficf , I am come 
To bid my King and Mafler aye good night. 
If he not here.' 

Alt. Ctf at thing ofvjforgot, 
Speake £</m».ii,whcrt'a the Kingfand whcie'li Ctritiui 
Seeftthouthij o\ne&Ktnt} 
Kent. Alackf.wliy [husf 
Ba/l. Yet £(^/7i«iJ vtaibrlou'df 
The one (Ke oilier poifon d fotmy faltC, 
An) afce' lie* hcrlclfci 

yllt. Eucn focoutt iheir facet. 
Iffjl. Ipint fjtiile •.(o'nc good I metieforfj- 
' Deipightofmineownc Niiuie, Quickly (ernl, 
(Bebticft in it) lo'ikCaftlc fot my Writ 
It on the life of £,r.<r,anil on Ccrdttia : 
Nay, fend in time. 

.Alt. Run,run,Otun. 

Ed^. To who my Lord ? Who hl't the Offict ? 
Send thy token of rcptccue . 

"S.)!}. Well thought on.takemy Sword. 
Giueit tht CaptJiiie. 

Bd£. HiO ihee fot ily life, 
Ia^. He haih Commiffion from thy Wife and ine» 
^o hang Cfrdeli* in the prifon,and 
To lay the blame vpon her owne difpaire. 
That rhefor-did her felle. 
jilt. The Godi defend her.bearc bim bence awhile. 

Emir Lejir with Ctrdelitinhu xnmi. 
£f jT.Howle.lio wle.howle: O your are men of Hann, 
Had I your tongues and eyes,U'd vfe them fo. 
That Heauens lault (houidctack : Qie'i gone for cuci. 
I know when one is dead.and when one liues, 
She'a dead at eirih : Lend me t Looking-gUfle, 



504 SOME ACROSTIC SIGNATURES 

Signature 208. 

This acrostic is found on the last page of The Tragedie of King 
Lear. 

I noticed that the Quarto of 1608 did not contain the words '■Exeunt 
with a dead March.'' So I began to read from the initial M of the 
word 'March '; to the left; on the initials of the woi'ds; excluding 
abbreviated stage-names ; spelling backwards Malvke v, i. e. Veru- 
1am, I arrived at the initial V of the word ' Very,' which follows the 
' Enter a messenger.'' 

The acrostic figure here is : — 

Very bootlesse 
E 
R 
V 
L 
A 
Exeunt with a dead March 



l^—^i^llll H » ■■■■- ■ ■■ I I II — ■ 

TheTragedte ^KjngLear, 



Ifihit her breath viUl DiiR 0( llilM (he (lone, 
Whythenlbeltuei. 
Kmt. Ii thUthcjiroiDi/deod/ 



£i<f. Or image ortbatho^fOi- 



Fall and ceafe. 

Ltitr. ThUfi:atherftrri,AieIiu(i:intbcro; 
It 'u a chance which (Jo's ledeetr.e ill fortowei 
ThaicuctI haucfclc. 

Ketit, O my good Maflcr. 

Ctdr. Prythceaway. 

£^, 'Tu Noble K«ryot/rVilend. 

£f<^r. A plague vpon you Mutdetorj.Tiilt Ar J all, 
I might liauc fau'd hct.tiovv flit'i gone for cuer : 
Ccr'i'lii,Ccrdelii>M''j a little. Ha : 
What is't thou fajft ? Her f oice wai euet foPt, 
Gentle.jnd low,an excellent thing in woman, 
I kill d the Slaueihat watahangin" ihce. 
C"t. Ti» true (my Lordiync did 

Ltar. Did I not fellow? 
I haue feenc the day, with my good biting f aulchion 
I would haue made him jkip: ) am old now. 
And thefefamecionejfpoileme. Who «e you? 
Mine eyes are not othteft ,Ile tell you flraight. 

Km. UFoitune biag of tv«o,rhe loud and hated. 
One of them rue behold. 

Lctir. Thiinadull fight,ireyodnotX«/? 

f.int, Ihe fame : your Seruani A^oir, 
Where is your Seru ant Ctiiu f 

LtnT. Hs'j • good fcllow.I can tell you thar, 
He'le Rtike and quick lytoo.he's dead and lotien. 

Kifit. No my good Lotd,l am the rety man. 

Liir. lie fee that fttaight. 

Kill That from your fitd of difference and decay, 
Haue follow'd your fad (Irp?. 

ttar. Your are welcome hither. 

ATfuT. Nornomanelfe: 
All'j cheerleffe.darke.and deadly. 
Your elden Daughtei t haue foic-done themfetucf. 
And defperately are dead 

l.ear, I fo I thinke, 

jili. He kno «ves not what he faie9,an<] va'me is It 



Thatwepcercnc Tstohim. 



i££. 



Big- Verv bootielfe. 

tJHtlf, EamMnJisienitoy totii 

i4li. That abut a trifle heerei 
You Lotdi and Noble Ftiend»,know our intent. 
What comfort to thu great decay may com(. 
Shall be appli'd. For »» wc will rcfigne. 
During the life of this old Maiefly 
Tohimourabfoluiepower, youioyourrighta, 
Withboote,andfuchaddiiton aryoui Honour* 
Haue more then merited. All F< icnd< Oiall 
Tafle ih« waget of their veitue.and all loea 
The cup of their deferuinga : Qfcc.fee. 

LfT, AndmypocreFoole ij h3ng'd;no,no,nolife? 
Why (bould aDog.a Horfe.a Rat haue life. 
And thou no breath at all ? Thou'lc come no raorf, 
Neuer,neuet,neuer.neuer,neuer. 
Pray you vndo thu Button. Thanke you Sir, 
Do you fee tnijf Locke on hct? Lookc her lips, 
Looketlicte.looke there, /// Jis, 

£ig. He fainti.niy Lord, my Lortf. 

Kcrt. Brejke heart, (pryiheebteakf. 

Eilg. I ooke vp my Lord. 

Kent. Vex not hit ghoft.O let him pafle.he ha«i him. 
That would vpon the wtacke of this toogh world 
Stretch him out longer, 

tdg. He II gon indeed. 

Kecx. 1 he wonder is, he hath cndur'd fo long. 
He but vfuipi his life. 

Jlih. Beare thetn from hence.our prefrni biifiodle 
It generall woe : Friendi of my foule, you twaine. 
Rule in this Realme,and the gor'd (late fuftaine. 

Kint. I haue a iourney Sir.fhottly to go. 
My Mafler calls me,l mud not fay no. 

tig. The weight of this fad time we hid A obcy,> 
Speake what we feele.not what we ought to fay ; 
The olden hath boineinon,we that are yong. 
Shall neuer fee fo Diuch,nor liae fo long. 

tximt with 4 deiUMtexh. 
(il 



FINIS. 



o06 SO^IE ACROSTIC SIGIS^ATURES OF 

Signature 209. 

This acrostic is found on the first page of Tlie Tragedie of Othello. 
(See p. 509.) 

Begin to read from the large initial ^ to the right; downwards; 

on the capitals of the words of the text; sjielling Nocab Sickarf, 
you Avill arrive at the initial F of the word ' For ' (twentieth line, 
second column). [Fig. 1.] 

Begin again to read from the large initial ^ down the first letter 

of every line until you have spelled Nooab: you will arrive at the 
initial B of the word 'But' (nineteenth fine, second column). [Fig. 

2.] 

Now read these last six lines of lago's speech (the letters of the 
cipher are printed in capitals). They are: — 

But seeming so, for my peculiAr end : 

fOr wheX my Outward aCtion doth demonstrate 

the natiue aCt, and figure of my heart 

in Complement exterue, ' tIS not long after 

but I Avill weare my heart vpon my sleeue 

FoR dAwes to pecke at ; i am Not Avhat i am. 



I 



FRAXCTS BACOX 507 



Observe that the initials of the first words of the first two lines of 
id 
B 



T3 

the passage are tji , and also that the initials of the first words of the 



last two lines are also p . 

Observe also that if you begin to read from the initial B of the 
word ' But,' which is the first word of the first line; to the right; on 
all the letters of all words ; downwards ; spelling Bacono, you will 
arrive at the letter O of the word ' For ' on the second line of the 
passage. [Fig. 3.] 

Begin to read from the initial F of the word ' For,' which is the 
first word of the last line of the passage; to the right; upwards; on 
all the letters of all the words; spelling Francisco, you will again 
arrive at the letter O of the word ' For.' [Fig. 3.] 



508 SOME ACROSTIC SIG:N^ATURES 

The acrostic figures liere are : — 



O 
C 



A ^ 

B 
S C 

I 

C A 

A 

R But 
FOr 



(3) But seeming so, for my peculiar end: 

A 
C 
O 
N 
FOr 
C 

s 
I 
c 

A 

R 

For Dawes to pecke at; I am not what I am. 



Jio 



The Tra^edie of Othello 




THETRAGEDIEOF 

Othello, the Moore of Venice. 



oA^us Tritms. Scma Trima. 




Roatrt'ga, 
Eutr tell me, I cake it much vnlindly 
Th>tthou {lag") whohanV>admypurfe, 
As ify filings were thinCjOiould'ftknow of this. 
/<.But you'l notheareme. Ifeuer Ididdreim 
Offuch amattcr, abhorreme. 

Rod). Thoutold'flme, 
Thou did'ft hold him in thy hate. 

lago, Defpife me 
If I do not. Three GreJt-ones of the Cittie, 
(Inperfonall fuicetomake mehii Lieutenant) 
Off-capt to him: and by the faith of man 
Il(nowmyprice,l am worth no worlTe a place. 
But he (ss louing his ownc pride, and purpofcf) 
Euades them, with a bumbaft Cireumftance, 
Horribly ftufft with Epithites of wjrre, 
Non-fuitesmy Mediators. Forcertes.faieshe, 
I haue alteady chofe my Officer. And what wa» he ? 
For-fooih,a great Arithmaiician, 
One MichtcH Ciffm, a FhriiUne, 
(AFellowalmoftdamn'din a faireWife) 
That neuetfei a Squadron in the Field, 
Not the deuidon of a Battaile knowes 
More thenaSpinOer. Vnlcffe the BookirtiTheoticke : 
Wherein the Tongucd Confuls can propofe 
A« Maftcrly « he. Metre pratle (without pTi£\'i(e) 
Is allhisSouldierfKip. Buthe( Sir)had th'eleflionj 
And I ( of whom his eies had fecnc the ptoofe 
At Rhodes, at Ciprus,«nd on others ground* 
Chrinen'd,and Heathen)t7iuftbebe-lecd,and calm'd 
By Debitor, and Creditor. This Counter. cadet, 
He (in good time) muft his Lieutenant be. 
And I ( McfTe the marke) his Moorefhips Auntient. 

Rod. iy heautn, I rather would haue bin hii hangmin, 

A^c. Why, there's no rcmedie. 
Til the curfTeof Seruice; 
Preferment goes by Letter.and affcSlon; 
And not by old gradation, where each fecotTtJ 
Stood Heireto'th'firfl. Nov«Sir,beiudg?yourfelfe, 
Whether 1 in any iu (1 tcrme am Affin'd 
To loue the Moort ? 

Red, I wouldnorfollowbitnthen, 

/<ij» OScrcontentyou. 
I follow bim,to feruemy iurncvponhim« 
Wc cannot all be Ma[lers,nor all MaTlert 



Cannot be truelyfoJIow'd. You fh all marke 

Many a dutious and knee-crooking knaue; 

That (doting on his owne obfcquious bondage) 

Wearesouthis time.much like his Mafl ers Affe 

For naught but Ptouender, & when he's old Ciflneci'd. 

Whip meruchhoncfi kniuct. Oifieri there are 

Who trym'd in Formes, and vifagej of Dutie, 

Keepeyet their hearrs attending on thcmfclueJ, 

And throwing b ut f>iowes of Seruice on their Lorda 

Doe well thriue by them. 

And when they haue lin'd theirCoaccs 

Doe themfclucJ Homage, 

ThefcFellowei haucfomefoule, 

Andfuchaoncdo I profelTcmy felfc. For (Sir) 

It is as fure as yomrcRodoTigff^ 

Were I the Moore,! would not be /<f«: 

In following him, I follow but my fcTfe. 

Heauen is my Iudge,not I for lout and dutie. 

But feemingfo.formypeculiatend; 

Forwhen my outward Afliondoth demonfltal* 

The nariueafl, and figure ofmyheait 

In Complement ezrerne, 'tis not long after 

But I will weare my heart vpon my fleeue 

For Dawes ropeckeat ; I am not what I am. 

RtJ. Whir a fall Fortune do's the Thicks-lips o^e' 
Ifhecancarry't thus.' 

/«jo. Call vpherFather: 
Rowrehim,mikc after him.poyfon his delight, 
Prodaimc him in the Streets, Incenfc hei kinfmen. 
And ihoughhein afettile Clymaicdwell, 
Plaguehim with Flies; though that his Toy be Icy, 
Yet throw fuch chances ofveaation out, 
Asitmayloofe fomc colour. 

Rido Heere is her Fathers houfe.Ile call aloud. 

/i<ji7. Doe, with like timerousaccent.and dire yell. 
As when (by Night and Negligence) the Flte • 
Is fpied in populus Cittiet. 

Ruds Whathoa ■.'Sraiirnri«,Si^inotBr/iti<i>tii>,hoi, 

/■«{«. Awake:whjthoa,'ffr<i^/mi;o:Theeues,Theeuc». 
Looke to your houfe,your d jughter,and your Bags, 
Thecues,Thceues, 

Br4. yiioHt. What ii the reafon of this terrible 
Summont? What is the matter there ? 

Rtdi. . Signior is all your Familie within i 

lagt. Are your Doorei lock'd? 

Br*. Whyji Wherefore ask you this? 

Itgt, Sir,y'areroh'd,for{hameputonyoutGo*ne, 
^^^ ' Youf 



510 SOME ACROSTIC SIGNATURES 

Signature 210. 

This signature is found on the last page of The Tragedie of 
Othello. 

Begin to read on the terminal N of the word ' weapon,' which is at 
the end of the first line; to the left; downwards; through the text, 
the word ' Finis,' and the list of names of the actors, and over on 
to the next column; on the terminals; spelling Nocab, you will ar- 
rive at the initial terminal B of the word ' be ' in the first line of the 
second column. 

Begin to read from the terminal N of the word ' Curtezan,' 
which is the last word in the second column; to the left; upwards; 
on the terminals ; through the names of the actors, the word ' Finis,' 
and the Avords of the text; spelling Nocab, you will arrive again at 
the initial terminal B of the word 'be ' in the first line of the second 
column; thus keying the cipher from opposite ends of the string 
of letters to a common centre. 

The acrostic figure here is : — 

weapoN 
O 

c 

A 

Let it Be hid 
A 
C 
O 
Curtezal!^ 

The reader will observe that the word ' Finis ' is common to both 
columns. 



the z^lfoore of Venice. 



l\9 



C<i/"riii5 did 1 fcJiC) but thought be had no wcjpOD; 
For he w" gfeat of heart. 

led OhSpsrionDoggc: 
Mote fell then Anguifli, Hungerjcr the Sea : 
LookeonrheTragicke Loading ofihit bed: 
Thuis ihy worke: 
ThcObieilpoyfonsSigKt, 



Let i[ be hid. Crauane,Vetft the houfe, , 

And feizc vpon cfae Fortunes of the Moore, 
Forihey fucceedeon^ ju. Toyoti,Lot>dCoueroof, 
Rcmamct th tCenfute oft his heUi/h tjlbjoe : 
TheTime. the Phcejthe Torture,oh infotee it • 
My felfe will fttiight aboord.and to the Stile, 
ThiihcauieA£V,wiih hcauie heart relate. Exmih 



FINIS. 



The Names of the A(ftors. 



i 



■■) 



Brabantio, Father to Defdemona. 
2(^ Caflio, dn H'lourahU Lteuletunt, 
I.igo, a VilUine. 
Rodorigo, tgaUd CtntUmtn. 
Duke offfnice 




Seaators. 

Montano, Gouernour cfCjpriu. 

Gentlemen cf Cyprus. 

Lodouico^iwi Graciano. two Noble ytjiettans, 

Saylors, 
CLraot. 

Dcfdcmona, wife to Othello. 

^Emilia, Wife to Ugo. 

Bianca, a Cartezjn. 




512 SOME ACROSTIC SIGI^ATURES 

Signature 211. 

This acrostic is found on the last page of The Tragedie of An- 
thony and Cleojxdra. 

Begin to read from the initial O of the word ' Oh,' which is the 
first word of the text on the page; to the right; downwards; on 
initials; through the text to the end of the play; spelling Oxocab 
OcsiCNARF, you will arrive at the initial F of the word ' Finis.' 

On turning back to the last lines of the previous page it is amus- 
ing to find that they are: — 

Enter Ccesar and all his Traine, marching. 

All. A way there, a way for Caesar. 

The signature begins on the next word over the page. 

Oh sir, you are too sure an Augurer: 
N 
O 
C 
A 
B 
O 
C 
S 
I 
C 

A 
R 

FIOTS 



^68 ~^he Tr age die of tAntJooi\y and Qeopatra. 



D'l. Oh (if , you sec too furc an Augurci: 
Thai you did feare.is done. 

Cdjur. BcaUcnaithcUn, 
She Icueirdat our purpofci, and being Royall 
Toolteherowne way ; the manner of their dcaihf, 
I do not fee them bleede. 

Dot. Who was(an wnh ititm' 

I Guitrd.A fimpleCountryman.thatbroghthii Fig»; 
Thiswa! hi« Basket. 

C^fAr. Poyfon'dthtn. 

t Ciurd, Oh Cufar.: 
This CWmkix Iiu'd but now, fhe Oood and fpake : 
1 found her rrimmiiigvp the Diadctt); 
On her dead Miflris tremblingly (lie flood. 
And on the fodaine dropt. 

C«/«-. Oh Noble wcakenelTe : 
If they bad fwallowd poyfon, '< would appearc 
By exrernallfwelling: but Die lookes like fleepc. 
As fhe would catch another Anihcnj 
In her ftiong toylc of Ciace. 



"Dot. Heere on her brc9, 
There is a vent of bloud, and fomcthingblownc 
Thelikeisonber Aime.. ' 

I CittrJ. This IS an Afpicltes trailc 
And thefe Figge-leaues haue (lime vpon them.fufh 
Asth'Afplckeleaues vponthcCaucsofNyle. 

C^f.ir. Mod probable 
That fo (he dyed • for her Phyfitian telj mee 
She haih purfu'de Conclufions infinite 
Offjfie wayestodye. Take vp her bed, 
And beare her Women from the Monument, 
ShcfhjII bcbuiiedby her e^niioiiy. 
No Crjoc vpon tlie earth fhall clip in it 
A payee fo famous :hn;heucnis as ihefe 
Strike ihofe that make them ; and their Stoty it 
No IclTc m pitty.then his Glory which 
Biought them to be lamented. Our Army fliaU 
Jn folcmnc fhew. attend rhisFunerall, 
I And then to Rome. Comt VoUtclU,ke 
Hi gh Older, in this great Solmenonity. Extmtimnct 



FINIS. 




514 SOME ACROSTIC SIGNATURES OF 

Signature 212. 

This signature is found in The Tragedie of Cymbeline, on page 
379, wrongly numbered 389. (See p. 517.) 

Note the Hues with which the page opens. They run: — 

You'l giue me leaue to spare, when you shall finde 

You neede it not. 
Post. Proceed. 
lack. First, etc. 

The possible double entente of this opening on a wrongly num- 
bered page gave me a lead. 

Begin to read from the initial F of the word ' finde,' which is the 
last word of the first line on the column; downwards; on the 
initials of the last words of the lines; spelling F Bacono, you will 
arrive at the initial O of the last word of the last line in the column, 



'or.' 



The acrostic figure here is : — 

You'l giue me leaue to spare, when you shall Finde 

B 
A 
C 
O 
N 
Or 



FRANCIS BACON 515 

Signature 213. 

This acrostic is also found in The Tragedie of Cymbeline, on 
page 379, which is wrongly numbered 389. (See p. 517.) 
Note the first two lines of the first column. They are: — 

You'l giue me leaue to spare, when you shall finde 
You neede it not. 

The possible double entente of these lines is, ' You '11 excuse my 
liberality when you find that you have enough without it.' 

Begin to read on the initial F of the word ' finde' (at the end of 
the first line) ; down the first and then the second column ; on the 
initial of each end word of each line; spelling Fkaxcis Bacon, you 
will arrive at the initial N of the word ' not,' which is the last word 
of the text of the second column. 

Begin again to read from the initial F of the word ' finde ' (at the 
end of the first line of the first column); down the first and then the 
second column; on the initial of each end word of each line; spell- 
ing Francisco Bacono, you will arrive at the initial O of the word 
' Or,' Avhich is the last word on the page (i. e. the last word on the 
last typographical line). 



516 SOME ACROSTIC SIGNATURES 

The two acrostic figures here are : — 

You shall Finde Fiude 

R R 

A A 

C C 

I I 

s s 

B C 

A O 

C B 

O A 

Not C 

O 

Or 






The Tragedie of Cjmherme, 



You'l giue rpc Icaue (0 fpirc, when you fluU findc 
Youneedeit noc. 

Pcff. Procted. 
hch- Firfl.hcr Bed-cliimber 
(Where I confclTelflcpt not,bucptofeflc 
Had that was well worih watching) ic was hlog'd 
WithTapiftryofSilke andSiluer.ihe Story 
Proud ClcDj>jira^ when flic met her Roman, 
And5/(iiwfweU'd abouc ihcBankes, or for 
The prefTe of Boatcs, or Price . A pecce of Worlie 
Sobrauely doue.fortch, that itdid Hriuc 
In WoiUemanlKip, and Value, which I wondet'd 
Could be fo raiely, and exaflly wrought 
Since the true life on't was ■ 

Pafl. This is tiue: 
And rhit you might haue heard of heete, by me. 
Or by fomeoiher. 

l^ch. Motepartlcularl 
Mun iuftlftemyknowlcdgc. 

Poft. So they mufl. 
Or doe your Honour injury. 

jMh. The Chimney 
IsSouth theChamber, «ndtheChiiT>ney.peect 
Cha{lcD/3i>, bathing: neuetfaw I figurej 
So likely to report themfeluei; the Cutter 
Was as another Nature duinbe, out-wcnt her. 
Motion, and Breath left out. 

Pcfl. Thisijaihiiip, 
Which you might fiom Relation hkewifc reape, 
Being, as it is, much fpokeof. 

Jtcl). TheRoofe o'th'Chamber; 
With golden Cherubins is fretted. Her Andirons 
(I had forgot them) were two winking Cupids 
OfSiluet, each on one footeftanding, nicely 
Depending on their Brands, 

/"o/?. This is her Honor : 
Let it be granted you haue feeneall this (and praife 
Be giucntoyour remembrance) thedefcription 
Of what is in her Chamber, nothing faues 
The wager you haue laid. 

I'ch. Then if you can 
Be pale ,1 bcggc out Icaue to ayte this lewcU : See, 
Andnow'tisvpagaine : it muftbc matiied 
To that your Diamond, lie keepe them. 

PoJ}. loue 

Oncemoielctme behold icisit chjc 
Whichllcftwuhher? 

Uch. Sit(l thankeher)that 
She flript It from hei Arme : I fee her yet : 
Her ptettyAOion, did out-fell her guift. 
And yet enrich'd it too : (Vie gauc it tnc. 
And (aid, (Tic pri j.'d it once. 

/«/?. May be.fiiepluck'd it off 
To fehditme. 

Imh. She writes fo to you? doth Oieef 

Fofl. Ono,no,no, "lis true. Hcere,take thittoo, 
It isiB^filiskevntominecye, 
Killes metolookeon'f. LettheiebenoHonor, 
Whcie there is Beauty : Truih.where femblance : Leue, 
Where there's another man. The Vowet of Women, 
Of no more bondage be, to where they are made, 
Then they arc to their Vertues,which i( nothing i 
0,aboue meafurc falfc. 

Phi. Haue patienca Sir, 
And take your Ring .igalne, 'tit notyei wonne s 
1 1 may be piobablc Ihc loft it i or 



jfip 



Who kno wes if one her women, bf ing tomipted 
HathOoIne it from her* 

Pcfl. Very true. 
And (o I hope hccameby'f.bscjteuiy Hing, 
Rcndertome fome cotpotall Ggiic about her 
More euident then this: for this was floliic. 

Jncb. By lupiter, I had it from berArmc. 

Poft. Hearkeyou.hefwearcs; by lupiieihc fweares. 
'Tistrue, nay kecpe the Ring; 'tis true ilamfute 
She would not loofe it ; her Attendants ate 
All fwornc, and honourable: theyinduc'dtoflcalcit? 
A nd by a Sti anger ? No, he hath enioy'd her, 
TheCognifancc of hcrincontinencic 
Is this :nie hath bought the name of Whore.ihgi deftly 
Theie, take thy hyre, and all the Fiends of Hell 
Diuide themfcluesbetwecneyou. 

Phil. Sir, be patient: 
This is not flrong enough to be beleeu'd 
Of one perfwaded well of, 

P'jh Neuertalkeon't: 
She hath bin colted by him. 

tach, Ifyoufeckc 
Fot further fatisfying, vndcrher Bread 
(Worthy her prclTing) lyeiaMole, right proud 
Of that mofl delicate Lodging. By my life 
I kid it, and it gauc me ptefent hunger 
To fcedeagainc, though full. You do remembtf 
This Oainevpon her ? 

fej), I,andit dothconfirme 
Another nalne.as biggeasHell cat! hold. 
Were there no more but it. 

lash. Will you heare more? 

PcJ}. Spate your Arechmaricke, 
Neuet count the Tuincs : Ouce,an(l a Million. 

Inch, llebefworne. 

Pojt. No fwearing: 
If you will fweare you haue not done't, yoti lye. 
And 1 will kill thee, ifthoudo'fldeny 
Thou'Hmade mcCuckold.- 

Atf/j. lie deny nothing. 

Pofl. O that I had her hcere.to teare her limb-meale: 
I will go there and doo't, i'th'Couti, before 
Her Father. Ilcdo fomething. far//. 

;'/)(/. Quite befidcj 
The gouernmeni of Patience, You haue wonne: 
Let's follow him, and perueit the ptefeni wrath 
He hath againO himfelfe. 

Itch, Withallmyheart, ixcunt. 

Enter Pojlhiimm, 

Ft/!. U there no way for Men to be, but Women 
Mufl behilfe-workcrsi' WcaieallBan»tdj, 
And thatmofi venerable man, which I 
Did call my Father, was, I know not where 
Wlien I was flampt. Some Coyner with his Tooles 
Made me a countetfeit : yet my Mother feein'd 
Th e Z) M/i of rhat lime :fo doth my Wife 
TheNon-pareillofthis. Oh Vengeance, VcDgeiOCe ! ' 
Me of my lawfull pleafurc fhe teflriin'd. 
And pray 'd me oft forbearance : didi t with 
A pudcncie fo Rofie, the fweet view on't 
Ml ght well haue watin'd oldc Saiume ; 
That I thought her 

As Charte, js vn-Suhn'd Snow. Oh,«ll the Diuelj ! 
This yellow //i.-2»fl»i in an houre.wai'cnoi } 

a a a 1 Or 



518 SOME ACROSTIC SIGNATURES OF 

Signature 214. 

This acrostic is found on the last page of The Tragedie of Cym- 
heline (see ]}. 521), which is wrongly numbered 993 instead of 399 
(i. 6. the number points to the left). Note the first few lines : — 

Make no Collection of it. Let him shew 
His skill in the construction, etc., etc., 
Read, and declare the meaning. 

Now note the last six lines on the same column, and the first line 
on the next column: — 

Cym. This hath some seeming. 
-► Sooth. THELOFTYCEDARROYALLCYMBELINE 

PERSONA TESTHEEANDTHYLOPTBRANCHESPOINT 
— ►THYTWOSONNESFORTHWHOBYBELARIUSSTOLNE 

FORMANYYEARESTHOUGHTDEADARENOWREUIUD 
-» T O T H E M A I E S T I C K E C E D A R I O Y N D W H O S E I S S U E 

PROM ISESBRITAINE PEACE A NUPLENTY. 

Treat this explanation by the Soothsayer as a string of letters. 
Note the initials m at the heads of the last two lines on the column. 

Begin to read on the T at the bottom left-hand corner; upwards; 
to the right; in the usual sequence, throughout the five lines and 
back again, spelling Tinevni Nocab Sicnuarf, i. e. Frauncis 
Bacon Invenit, you will arrive at the F of the word ' For,' at the 
head of the second line from the bottom of the column. 

Now note that this Soothsayer's explanation seems to have been 
arranged so that it will yield the same i-esult if the tvJioIe speech is 
used. Read from T, to the right ; downwards ; and back, throughout 
the speech, continuously; spelling as before, you will again arrive 
at the F of the word ' For.' 

The acrostic figures here are alike, and circular: — 



X 



/^ 



B 
\ 
For A 

I 
C 

N / 

N O 



To 
I 



\, 



I 



FRANCIS BACON 519 

Signature 215. 

This acrostic is also found on the last page of The Tragedy of 
Cymbeline. (See jj. 521.) 

Begin to read from the initial F of the word 'Finis'; to the 
right; ujiwards; on the initials of the words of the text; njj the 
right-hand column and then up the left; spelling Fkavncis Bacon, 
you will arrive at the initial N of the word ' name.' 

The acrostic figure here is: — 

The fit and apt Construction of thy Name 

O 
C 
A 
B 
S 
I 

c 

N 
V 
A 
R 
FINIS. 

As this acrostic runs from point to word instead of from point to 
point, I regard it as a 'weak' acrostic; though definite enough in 
its way. It is the more remarkable when you find that if you begin 
to read from the initial F of 'Finis '; to the left; upwards; on the 
initials of the words of the text; up the right-hand column and 
down the left-hand column; spelling Fkavncis Bacon, you will 
again arrive at the initial N of the same word ' name.' The acrostic 
is thus keyed in two directions. 



520 SOME ACROSTIC SIGNATURES 

Signature 216. 

While we are dealing with this last page of the Folio we may as 
well note that the ' Letter of the Oracle ' also contains an acrostic. 
In the last signature but one (No. 214) the Soothsayer has given us 
the meaning of it. 

Begin to read from the last letter E of the 'Oi'acle'; to the left; 
ujjwards; on all the letters of all the words; spelling Ekaepsekahs 
Mailliw ( = William Shakespeare), you will arrive at the large 

y/y/ which begins the first word of the ' Oracle.' 



The acrostic figure here is: 



w 



Hen 



I (Y in Lyons = I in Lion's.) 

L 
L 

I (Y in Ayre := I in Air.) 

A 
M 

S 
H 
A 
K 
E 
S 
P 
E 
A 
R 
tiE 

Note. — For information as to the use of acrostics in oracles, refer to Grafs 
article, mentioned in Appendix II, p. 615. 

For the use of the letter I in the place of the letter Y, in acrostics, see the 
acrostic showing Stanlei (Stanley), down the face of each of seven stanzas. See 
Political^ Religious., and Love Poems, etc. (Early English Text Society), edited 
by F. J. Furnivall. 



^heTrageejy ofCynwdine. 



MakcnoColI;i5lipnofi[. Lcihimlhcw 
His skill in the conftruiSion. 

Lite, fhiUrmoM/u , 

Sjoih Hccrc,my good Lord. 

Luc Rcad.andjccljie the meaning. 

KrjJri 

CHt ferkj'ipfndi, andtiee cmiiTAC d bj a feeceef lender 
j^yrt' jindviiieufrcma ftAiety Crdv P>»Uhc lopt irancltfi^ 
rvhich ban* dt Ad many jcArei,fh,jllafier reuiue, bee tojnttdio 
theeldiiocke , atnifrcfhlj gron^ then /hall PcJ^humtu end hti 
miferies^ Bntaine hefortHnnfe, dndflafiriP: in PeAce und Plcn* 
til. 

Thou Leenitim ait the Lyons Whtlpe, 
The fit and apt ConflrU(5)ionof ihy name 
Being ^foojj/«, doth import fo muth 
The pccce of tender A ye, thy vertuous Daughter, 
Whuh HC call /IMU ^er. and CMMi ^er 
Wetcrmeit AUher; whuli /^/«/jfrI duiinc 
llihismofl conrtsni Wife, who euen now 
Anfwenng the Letter of ihcOiacle, 
Vn)<nownc toyou vnfoughr,wcte dipt abt)Ut 
With this mod tender Aire. 

Cjm. Thithathfomcfeeining. 

Sooth. The lofiy Cedar, Roy all C/nifr/me 
Perfonates thee : And iliy lopi Branches, point 
Thy two Sonncs forth ; who by "BeUrtui ftolne 
For many yeares thought dead.arcnow reuiu'ci 
To the Maiefticke Cedar loynd; whofcKTue 



991 



Ptomifcs Briiaine, Peace and Plenty, 

Cjm. Well, 
My Peace we will begin ; And Cnim Liiciiu 
Alihough ihe Viilor.we fubmit to Ctfur, 
And to the Rooiane Empire j prorrifing 
To pay our wonted Tribute, fiom the which 
We were difTvvadcd by our wicked Qucene, 
Whomheauensin lunicebothon her,3ndhctJ, 
Hauc laid vaoR heauy hand, 

Ssoih. The fingers of the Powresaboue,dotune 
The harmony of this Peace: the Vifion 
Which I inadcknownetoixciVwerethe ftroke 
Of yet this (caifc-culd-Battaile, at this inftaac 
Isfull accomplilh'd- For the Roinaine Eagle 
From South roWcft,on wingfoanngalofc 
LeiTcn'd het felfc, and in the Beaines o'lh'Sun 
So vanilVd ; which fore-fhcw'd our Piinccly Eagle 
Th'lmpcriall Crf/dr, (}iouId againe vnirc 
His Fauour,with the Radiant Cjmtieliite, 
Which ftiinesheere in the Weft. 

Qm. Laud we the God), 
And let our crooked Smoakes climbe to theif Nofiiils 
From our blen Altars. PubhlTi me this Peace 
To all our Subiefli, Set we forward ; let 
A Roman, and aBritiifh Enfigne waue 
Friendly together i fo through iwii^r-Toiroe match, 
I Andinihe Temple of great lupiier 
Our Peace wee'l raiifie; Sealeit with FeaDs. 
Set on there : Neuet was a Watre did ceafe 
(Ere bbodie hands were wafli'd) wnh fuch a Peace. 

ExeiMt, 



FINIS. 




Tmtedat the Qharges ofjV.fa^gardy Ed. "Blount^ I, Smitkfeek^, 
and JK<iJjj>!ey, idzj. 



_ t 



522 SOME ACEOSTIC SIG]S^ATURES OF 

Signature 217. 

If you begin to read on the initial J3 of the word ' Bote-swaine,' 
which is the first word of the first spoken fine of The Tempest; to 
the right; on the initials of the Avords of the first spoken line of each 
play, taken in its proj^er order throughout the Folio; spelling 
BACONOCSiCNARr, you will ai'rive at the initial F of the word 
' Frownes,' which is the last word of the first spoken line of Cym- 
heline — the last play in the Folio. 

If you were reading this acrostic in the Folio, you Avould read 
each line from left to right, clear through the book. But as it is 
impossible here to reproduce the entire Folio, or even the first pages 
of the plays consecutively, I have printed on the opposite page a 
list of these first spoken lines, each of which must be read from left 
to right on the initials; from the initial of the first word of the first 
line, to the initial of the last word of the last line. 

The acrostic figure here is : — 



B 



Ote-swaine, 
A ' 
C 
O 

Old John, etc. 
C 

s 
I 
c 

IS 

A 

R 

Frownes. 



FKANCIS BACON^ 



523 



The first spoTcen lines of all the plays in Mr. William ShaTcespeare's 

first Folio.' 



Tempest. 

Two Gentlemen. 

Merry Wives. 

Meas. for Meas. 

Com. of Er7'ors. 

Much Ado. 

Lovers Lab. 

A Mid. N. I)rea7n. 

Mer. of Ven. 

As You Like It. 

Taming of the Shrew. 

All 's Well, etc. 

Tioelfe Night. 

Winters Tale. 

King John. 

Richard II. 



Bote-swaine. 

Cease to perswade, my louing Protheus ; 
Sir Hugh, perswade me not: 1 will make a Star- 
Uscalus. 

Proceed SoUniis to procure my fall, 
I leai-ne in this Letter, that Don Peter of Arra- 
Let Fame, that all hiint after in their Hues, 
Now faire Hippolita, our nuptiall houre 
In sooth I know not why I am so sad, 
As I remember Adam, it was vpon this fashion 
He pheeze you infaith. 

In deliuering my sonne from me, I burie a se- 
lf Musicke be the food of Lone, play on, 
If youshall chance (Camillo) to v\s\t Boh emia,on 
Now say Chatillion, what would Francewith us? 
Old John of Gaunt, time-honoured Lancaster, 
So shaken as we are, so wan with care, 
Open your Eares: For which of you will stop 

For a Muse of Fire, that ivould ascend 
Hung bey heauens withblack,yield day tonight; 
As by your high Imperial! Maiesty, 

1 Wonder how the King escap'd oiu- hands? 
Now is the Winter of our Discontent, 
/ Come no more to male you laugh. Things now, 
In Troy there lyes the Scene: From lies of Greece 
Before we proceed any further, heare me speake. 
Noble Patricians, Patrons of my right. 
Gregory: A my word wee'l not carry coales. 
Good day Sir. 

Hence : home you idle Creatures, get you home : 
When shall we three meet againe? 
Who's there? 

I thought the King had more affected the 
Neuer tell me, I take it much vnkindly 
Nay, but this dotage of our Generals. 
You do not meet a man but Frownes. 



1. Henry IV. 

2. Henry IV. 

Henry F. 

1. Henry VI 

2. Henry VI. 

3. Henry VI. 
Richard III 
Henry VIII 

Troylus and C. 

Coriolanus. 

T. Andronicns. 

Romeo and Juliet. 

Tymon of Athetis. 

Julius Ccesar. 

Macbeth. 

Hamlet, 

King Lear. 

Othello. 

Ant. and Cleopatra. 

Cymheline. 

' When the play is preceded by a prologue, the first spoken line of the play is 
the first line in the prologue. 



524 SOME ACROSTIC SIGNATURES OF 



CHAPTER XIII 

Richard II. Quarto edition of 1597. 
Romeo and Juliet. Quarto edition of 1597. 
Romeo and Juliet. Quarto edition of 1599. 
Romeo and Juliet. Folio edition of 1623. 
Richard III. Quarto edition of 1597. 
Richard III. Quarto edition of 1602. 
Titus Andronicus. Quarto edition of 1600. 
Hamlet. Quarto edition of 160-}. 
Hamlet. Quarto edition of 1601:. 
Othello. Quarto edition of 1622. 

The nine Quartos with which I deal in this chapter must serve, for the present, 
as an indication of what may be sought in the rest. The mere bulk to which this 
book has grown has limited my work on the Quartos. 

For purposes of presentation I have used the numberings which have hitherto 
been given to these Quartos. It is probable that some of them are incorrectly 
numbered, and that corrections will be made in view of the discovery in Sweden 
of a copy of Titus Andronicus dated 1594,' and of Mr. W. W. Greg's examina- 
tion of the water-marks of some copies.^ 

' See W. Keller's account of the edition, and of Ljungren's collation of it with the 
Quarto of 1600, in the Jahrbuch der Deutschen Shal-espeare-Gesellschaft, pp. 211-12, 1905. 

* See The Library, New Series, nos. 34 and 36, October and April, 1908. 



FEANCIS BACON 525 

Signature 218. 

This signature is found in the last two (facing) pages of Tlie 
Tragedle of King Richard the Second, as it is printed anonymously 
in the Quarto of 1597. (See pp. 526-27.) 

Note that the initial of the first woi'd on the penultimate page is 
the O of the word ' Oui-,' and that the initial of the last word of the 
play is the capital letter B of the word ' Beere.' 

Begin to read from the capital Bof the word 'Beere'; to the right 
or to the left; ujj wards; through the text of the two pages; using all 
the cajntals of all the ivords on the page ; siielling Bacono, you will 
arrive at the capital O of the word ' Our ' at the top left-hand corner 
of the penultimate page. 

The acrostic figure here is: — 

Our towne of Ciceter in Gloucestershire, 



N 



O 

c 



In weeping after this vntimely Beere 

Note that the initials of the last two words of the play are the 
B F, or, if read upwards, the F B of the words ' Fenis ' and ' Beere.' 



526 SOME ACROSTIC SIG:N^ATURES OF 



TheTngeditef 

Our townc of Cicetcr in Gbuccftcrfliire, 
But whether they betaneot Haine wehearcaot. 

Enter 'Nonhumbetlani. 
Welcome my Lord, what is the Hcwes? 

T^rth. Firrt to thy facred ftatc wifli lall happinefltf} 
The next ncwcs is, I haue to London feni 
The heades of Oxfordi Salisbury, Blunt and Kcnt» 
The mancr of their takingmay appeare 
At large difcourfedin this paper hecre. 

lUng We thankc thee gentle Percie for thy paincs. 
And to thy woorth will adde right worthy games. 
Enter loriiFit^a>ateri. 

Titt, My Lord, 1 haue from Oxford fcnt to London 
The heads of Broccas, and fir Bcnet Scely, 
Two of the daungerous confbrtcd traitors> 
That fought at Oxford thy dire ouerthrow. 

kiii. Thy paincs Fitz. fhall nor be forgot* 
Right noble is thy merit well I wot. 
enter R.Ttrcif. 

Terete The grand confpirator Abbot of Wcftminftct 
With clog ofconfciencc and fowre melancholy 
Hathyeclded vp his body co the graue. 
But here is Carleil liuing, to abide 
Thy kingly doomc» and fentence of his pride. 

king. Carleil, this is your doomej 
Choofe out fome fecret place/ome reuerent roomc 
More than thou haft, and with it ioy thy life? 
So as thou liu ft in peace, die free from ftritci 
For though mine enemy thou haft eucr beenc. 
High fpaikes of honour in thee haue 1 fecne. 

Enter txton ttith tie coffin, 
txten GreatKing, within this coffin Iprefenl 
Thy buried feare : herein anbrcathleffe lies 
The miehticft of thy greateft cnemies> 
RichardT of Birrdcaux.Dy me hither brougfit* 
kill Extoni I thankc theenetjilMthou haft wrought 

A 



FRANCIS BACON^ 



527 



J^iniMkharithefecmd. 
A deed of /launder with thy fatall hand, 
Vpon my head andall thistamousLand. 

"Exton. From your ownc mouth my Lo. did I this deed. 

King. They loue not poifon that do poifon neede. 
Nor do I thee; though I did wi(h him dead , 
I hate the murthercr, loue him mutthcred: 
The guiltof confcience take thoa for thy labor* 
But neither my good word, nor Princely fauourj 
WithCaynego wander ilirough /hades ofnighfc 
Andneacr /hew thy head by day nor light. 
Lordcs.I protcft mylbule ijfiillof wo» 
Thatbloud fliould iptincle me to make niegrow: 
Come moume with me. for what I do Iaffiet)tt 
And put on fulleyn blacke incontinent, 
Ilemakca voiageto the holly lande. 
To wa(l ih is bloud ofFfrom my guiltifhand: 
March fadly after, grace my mournings hcerc> 
In wccpingaftcr thisvntimcly Bcerc. 




528 SOME ACROSTIC SIGNATURES OF 

Signature 219. 

In dealing with The Tragedie of Romeo and Jidiet, I shall show 
you the signature as it appears in the first known Quarto, published 
anonymously in 1597, so that you may compare it with the signa- 
ture in the second known Quarto, published anonymously in 1599. 

The second known Quarto contains revisions and additions which 
rendered necessary another cipher. Note that the last paragraph of 
the play as it is printed in the second known Quarto is printed ver- 
hatim with the same paragraph as it was printed twenty-four years 
later in the first Folio. 

We will now take the so-called first Quarto of 1597, on its last page. 

Begin to read from the initial B of the word ' By,' which is the 
first word on the page of the text; to the right; downwards; on 
the initials of the words of the text; sjjelling Bacono, you will arrive 
at the initial O of the word ' on.' 

Now begin to read from the initial F of the word ' Fnsris ' ; to the 
right; on the initials of the words of the text; spelling Francisco, 
you will arrive again at the same initial O of the word 'on.' 

The acrostic figure here is : — 

By me, or by my meanes, etc. 
A 
C 
O 

N 

Can I bestowe On her, thats all I haue. 
C 

s 
I 

C 

A 

R 
FINIS 



FRANCIS BACON 529 



oj Romeo and Itdiet. 

By me, orb/ my mcaneslct my old life 
8c facrificd feme houre before his time. 
To the moft ftiickeft rigor of the Law. 

P/jr: Wcftillhiac knowne thee fora holy man, 
VVhetcs Rowfw rr»an,what caji he Jay in this? 

'BJrhi Ibrought my miftcr word due fliec was dead, 
And then he poalled flraight ftom <Jt1imtu*, 
VntothisToombe, Thele Letters he deliutrcdme^ 
Charging me eariy giuc theni to his Father, 
' 'Prtn: Lets fee the Lctters.Iwillreadthctiiouer. 
Where is the Counties Bov that calld the Watch? 

B»y.- I brought my Ma(ter viuo 7«/««/ graue. 
But one approaching, Ihraight I calld my Maltcr. 
At laft they fought, I ran lo call theV Vatch. 
And this is all that I can fay or know. 

Ihrmx Thefe letters doe make good the Fiyer j wordcJ, 
Come Capo/et, and come qlde Mountis^e'A-t. 
VVhcrc are thefe encrnies? fee what hate hath done, 

Cy • G>mc brother MenntM^ut gioe me thy hand^ 
' There is my daughters dowry : for now no more 
" Can I beftowe oiiher,that$ all I hauc. 

AioHn: But I will giue them raorc,I will eieil 
Hcrftatue of pure goldc: 
That while Vtron* by that name islcnowne. 
There /hall no ftatueoffuch price be fet. 
As that of ^tnttoi loued lulut, 

Qtf: AsrichfliaURowMbyhisLadylie, 
Poore Sacrifices roourEnmitie. 

fnn : A gloomiepeace this day doth with it bring. 
CoiDe,letvshcnce, • 

To haue more talkc of thefe fad things. 
Some /hall bepardoned and fome puni/hed : 
For nere was hoarda Storieof mote woe. 
Than this of /mA^; andhetlW'rc. 



530 SOME ACROSTIC SIGNATURES OF 

Signature 220. 

Let us now turn to the so-called second Quarto (1599. Anony- 
mous), where we see at once that the revision of the text has changed 
the face of the page and has necessitated the use of a new cipher. 

I reproduce the facsimile from both the second Quarto, and the 
first Folio, so that the reader may compare them with the first Quarto. 
(See pp. 532-33.) 

The acrostic is contained in the text of the last speech by the 
Prince. 

For convenience I print the letters of the Prince's parting words, 
as if they were striuig on a sixfold string, and I have placed arrow- 
marks for guidance. 

A GLOOMING PEACE THIS MORNING WITH IT BRINGS <- 
-*THESUNFORSORROWWILLNOTSHEWHISHEAD 

GOHENCETOHAUEMORETALKEOFTHESESADTHINGS<- 
-»SOMESHALLBEPARDONEDANDSOME PUNISHED 

FORNEUERWASASTORIEOFMOREWO<— Note the cipher at 

-4THENTHISOFIULIETANDHERROMEO the end of each line. 

Begin to read from the initial T, which begins the last line of the 
play; to the I'ight; upwards; throughout the speech and back again 
continuously; on all the letters of all the words; spelling backwards 
TiNEVNi NoCAB SiCNVARFF (i. 6., Ffrauucis Bacon Invenit), you 
will arrive at the letter F of the word ' For,' which begins the last 
line but one. 



FRANCIS BACON 631 



The acrostic figure here is : — 



X^ B 



A 



R 

\ 
\ 



For 

Then 



■^A 



/ X 



o 

1 

N 

/ 

I 

/ 

N 



-N- 



Note that the last page of the play in the Folio is wrongly num- 
bered 79. It should be 77. 



532 S03IE ACROSTIC SIG:J^ATURES 



ofO^meo andhHeu 

See whata fcourge is hide vpon your hate t 
That hcauen 6nds means to kil youi ioycs witblow^ 
And I for winking at your difcordj too, 
Haucloflabracc ofkinGnen, all areptmi^t. 

(Ap. O brother •/)^«MMM^(M',oiue me thy hand. 
This ij my dao^hiers toy nture^oi no more 
Canldcmaand. 

tJMoMH. But I can ^oe thee more. 
For I will raie her fbtuc in pure gold> 
That whiles Vtrotut by that name hknowne. 
There fhall no figure at fach rate be fet, 
Asthat of true and faithfiill /*/«•/. 

Op;/. As rich {ball Romeos byhisLadicsne* 
Poore facrifices of (HU enmitie* 

Prin. A glooming peace this morning with it bdogs* 
The Sun for forrow will not fhew his head: 
Go hence to haue more talke of thefe (ad things; 
Some fhall be pardoned,and fome puoilhcd« 
For neuer was a Stone of more woj 
Then this of //wSrf and ber %oi^xo, 

r IN IS* 




The Tragedie of%omeo andkliet. 



19 



I minicd ihem; lad their {loln< marriagr diy 

Wa»7^^<ift/Doomefdjy: wliofe vnlimcly death 

BaniOid the iiew-inide Biidtgroooic from this Ciiie : 

For whom (and not for tjiali) Intict pindc. 

Yoo.to rcmoue that ficgeofGteefc from her, 

BcttOih'J and would haue married her pcrfutce 

"XoQuwnwtPxrU. Then comcj (lie tome, 

And (with wilde lookes) bid me dcuife fooie meinn 

To rid her from this fecoiid Marriage, 

Or in my Cell there would (he kill het felfe. 

ThengaueIher(foTuicr'dbymy Art) 

A flccping Potion, rthich fo tooKeeffeil 

As I intended, for it wrought on her 

The forme of death. Meaiie time, I writ to 'Ksmto, 

That he fliouIJ hither come, as this dyic night, 

To heipe to take hei from her boirowed graue. 

Being the time the Potions force fliouldceafc. 

But he which bote my Letter, Frier hbn, 

W»i flay'd by accident ; and yeflernight 

Retutn'dmy Leitcibacke. Then all alonf, 

A* the prefixed houre of her waking. 

Came I to take her from her Kindreds vault. 

Meaning to keepe her do Wy at my Ceil, 

Till I Conuenicntly could fend loRcmco. 

But when I came (fome Minute ere the time 

Ofher awaking) heetevntimcly lay 

The Noble Ftru, and true ^omwdead. 

Shee wakes, and I intreated her come footth, 

And beatethis worke of Heauen, with patience; 

But then, a noy fc did fcarre me from the Tombe, 

And (he (too defperatc) would not go with me, 

But (as it feemcs) did violence on her felfe. 

All this I know.and to the Marriage het Nutfe is priuy : 

And if ought in this mifcarricd by my fault, 

let my old life be faciific'd.fome iioure before the time, 

Vnto the tigout of fcuerert Law, 

frw. We flill haueknowne thee for a Holy man. 
Where'j 'F^nto'i roan ? What can he fay to this i 

"Stj. I brought my Maflet newes oi lulicts death. 



And then in pofte he came ftom Mtmiu 
To this fame place, to this fame M onumcnr. 
This Letter he eatly bid me giue his Father, 
And thrcatned mc with death, going in the Vault, 
If I depaited not, and left him there. 

frin, Giuemc the Letter.I will look on it. 
Where is the Counties Page that rais'd the Watch ? 
Sirra, what made your M jfter in this place ? 

PugeMc came with fiowrcs to drew hij Ladies graue. 
And bid mc (land aloofe, and fo 1 did : 
Anon comet one with light to ope the Tombf, 
And by and by my Maiflcr drew on hinj. 
And then I ranaw.iy to call the Watch. 

Prm. This Letter dothmakegood the Frierj wcrdt, 
Their coutfe of Loue,the tydings ofher death : 
And heere lie writes, that he did buy a poyfoa 
Ofa poorePothccaric.and thereivithall 
Came to [his Vault lodye, and lye with titUet, 
Where be tliefe Enemies ? CnfuUt, AUiintagHe, 
See what a fcourge is laidc vpon y our hate. 
That Heauen finds nieanesto kill your loyej with Louf 
And I, for winking at yourdifcords too, 
Hjucloftabrace of Ktnfmcn ; AIlarepuniHi'd. 

Cip. O Brother tiUuntague ,^\\\t\i\tx\\'j hand 
This IS my Daughters toy mure, fornomot* 
Can I demand. 

Tvloun. But I can glue thee mote : 
For 1 will raife her Statue in pure Gold, 
That whiles ZJcrona by that name is knowiiCf 
There (hall no figure at that Rate be fet, 
Ai that ofTruc and Faithfull /(//iff. 

C'f. As tithftiall/fijmwbyhisLady ly, 
Poore facrifices ofour enmity 

Prtn. A glooming peace this morning with il bllngt. 
The Sunne for forrow will not (hew his head ; 
Co hence, to hauc more talkeof thefe fad things. 
Some (hall be pardon'd, and fome punilbcd. 
For neucr was a Stotie ofmort Wo, 
Then this of/«/i«,andher Romeo. CxtHniomini 

Ge 



FINIS. 




634 SOME ACROSTIC SIGNATURES OF 

Signature 221. 

This acrostic is found on the first page of The Tragedy of King 
Richard the Third, as it is printed in the Quarto of 1597, published 
anonymously. 

Note the large initial of the first line, and the initials of the lines 
which are indented. 



N 



Reading upwards we have I AM O; which may mean / am, 

cipher. 

Note also that the last words on the page are ' I am,' 

Begin to read from the words ' I am '; to the right; upwards; and 

thereafter continue on the initials of the words of the text; spelling 

Ffrakcis Bacon, you will arrive at the large ^ which begins the 

text of the first line. 

The acrostic figure here is: — 



No 



C 
A 
B 

S 
I 

c 

N 
A 
R 
F 

F 
I am 

Compare this acrostic with that found on the corresponding page 
of the same play in the Quarto of 1602. (See p. 536.) 



FKANCIS BACON 



535 





lEfiter Richard Duke cfGloceJlerJoluT, 

Ow Is the winter of our dtfcontent.. 
Made glorious fummcr by this fonneof Yorfce: 
And all the doudes that lowrd vpon our hou(c» 
In the dccpc bofomc of the Ocean buried, 
^iw arc our browcs bound withviftorious wreathes* 

Our brutfcd armes hung vp for monuments^ 

Oorftcrne alarmcs changd to merry meetings, 

Our dreadful! marches to delightful 1 meafurcs. 

Grim-vifagdc warrCjhath fmoothdc his wrinkled fi:ont, 

And now in ftccd of mounting barbed ftcedes, 

To fright the foulcs of fearefuU aducrfaries. 

He capers nimbly in a Ladies chamber. 

To the lafciuiqusplcafmgof a louc. 

But I that am not /hapte for fportiue trickc'. 

Nor made to court an amorous looking glafTc, 

I that am rudely ftampt and want loues maicdy. 

To ftrut before a wanton ambling Nymph: 

I that am curtaild of this fairc proportion. 

Cheated of feature by dinfembling nature, 

Deformd,vnfini(ht, fcnt before my time 

Into this breathing world fcarcc halfc made vpt 

And that fo lamely and vnfafhionable, 

That dogs barkc at me as I halt by them: 

Why I in this wcake piping time of peace 

Hauc no delight to paffc away the time, 

VnlcfTc to fpic ray fiiadow in the funnc, 

And dcfcanton raincownc deformity; 

And therefore fince I cannot prooue a louct 

To cntcrtaine thcfc fairc well fpoken daie»» 

A 2 laoi 



636 SOME ACROSTIC SIGNATURES OF 

Signature 222. 

This acrostic is found on the first page of The Tragedie of King 
Richard the Third, as it is printed in the Quarto of 1602. 
"We shall use the capital letters only. 

Begin to read from the large j\ at the beginning of the first line ; 

to the right; downwards; on all the capitals used on the page; spell- 
ing backwards Nocab, you will arrive at the capital B of the word 
* By ' at the lower right-hand corner of the page. 



i 



The acrostic figure here is : — 



N 



O 
C 
A 
By 

If you prefer to read from the O, or cipher, which follows 

the IV ; to the left or to the right; downwards; on capitals; then the 

signature becomes Onocab, i. e. Bacono. 
The acrostic figure here is : — 

O 

o 
c 

A 

By 

It is interesting and instructive to compare this signature with that 
in the same play in its corresponding place in the fu-st Folio. 



FRANCIS BACON 537 




Enter RicbcrdDuk^ ofQUcefi erji&tt. 



NOw IS the winter of dircontenti 
Made gbrioaj fonimer by ih »» fonne (tf Yoike : 
And all thecloudes rtiat lowrd vpon our houfey 
lotbedeepebofismeoffhe Ocean iMiried. 
Now are our browes bound with vi£lorioui wreatheSf 
Our btutfed atmes hang vp for nionuoientt» 
Out ft«rnealaiun»changdto merry meetings, 
Our dteadfiill marches co deltghtfoll meahires. 
Grim- vifagde warre,hatb fmootbde bu mingled front» 
A nd now io flead oFtnouaung barbed fiecdsi 
To fright the foulesof fcarefitU aduerfaries« 
He capers nimbrie in a Ladies chamber. 
To the lafctuious pleafing of a Loue. 
But I that am not fliapte for fportiue ttickes. 
Nor made to court an amorous looking^l^ 
Xthat am rudely (lamptiand want loues maieflie 
To firut before a wanton ambling Nymph ; 
Tthat am curtaild ofthts faireproponion^ 
Cheated of feature by dinembling nature^ 
DefotmdiVnHnifltf, feot before my time 
Into this breathing world halfe made vpy 
And that fo lamely and vnfa(hionable» 
That dogs bark« at me as 1 halt by them : 
Why I in this weake nping time of peace 
Haue no delight to paUe away the time, 
VnleflTe to fpie my fhadow in the Sunn^y 
And de(cantonmineownedeformitie: 
And therefore (ioce I cannot proue a loiter 
To emertaine thefc faire well moiwn daiesy 
I am determined' to proue a villainei 
And hate the idle pleafures of thefe daies t 
Plots haue I|aid,induAion$ daneerottsy 

A2 By 



538 SOME ACROSTIC SIGNATURES OF 

Signature 223. 

This acrostic is found on the first page of the Quarto edition of 
The most lamentable JRomaine Tragedie of Titus Aiidronicus, pub- 
lished anonymously in IGOO. 

Begin to read on the initial A of the first word of the last line; to 
the right; upwards; on the terminals of the words of the text; spell- 
ing Anthonie Bacon, you will arrive at the initial N of the word 
* Noble,' which is the first word of the first liue. 

The acrostic figure here is : — 



N 



O 

c 

A 
B 
E 
I 

O 
H 
T 

N" 

And Romaines fight, etc. 



FRANCIS BACON 539 




^ The moft kmencable Romaine 

Tragedle of Titus Andronicus : As It was plaid 

by the Right Honorable the Earleo£^Darbic,Effl:lc 
o£ Pcmbrooke, and Earle of Sufloc. * 
theyr Scmants. 

Eiatr (&e Tribunes <«»/ SenatoUfs aiaft : ^ni then etitei' 
Satuminus ^nd hit followers at one 4aoDe, atki BalsiaOUS <«d hii 
pikvtrf, with Drttms and Trumpet/, 

SaturmiHu 

T^ Oble Patricians, Patrons of my right, 
*" Defend the iuftice of my caufc with annct 
And Countrimen my louing followers. 
Plead my fuccefsiuc Title with your fwords: 
I am his firfl borne fonne,that was the lad 
Thar ware the Impeiiall Diadcme of Rome, 
Then let my Fathers honours liae in me^ 
Nor wrong m'me age with this indignitic. 

'Bafsi4nM. 
Romaines, friends, followers, fauourcrsof myright, 
I^ euer "BAJstMUU Cefms fbnne, 
Were gracious m the eyes of rovall Rome, 
Xeepe then this paflage to theCapitoIl, 
Andfu£fer not difhonour to approch, 
The Imperiall fcatc to vertue, confccratc 
To iuftice, continence, and NobiHdc: 
Butler dcfcrfin pureelcdion fhme, 
An4 Komames %ht for ficcdome in yodr choice. 

A » Martm 



540 SOME ACROSTIC SIGNATURES OF 

Signature 224. 

This acrostic is found on the page preceding the last page of the 
Quarto edition of The most lamentable Romaine Tragedie of Titus 
Andronicus, published anonymously in 1600. 

-r> 

Note the initials of the first two lines on the page; they ai'e ^ 
of the words x^ 

Note the initial F of the first word of the last line. 

Begin to read from the initial F of the word 'For'; to the right; 
upwards; on the initials of the words of the text; spelling Fran- 
cisco, you will arrive at the initial O of the word ' of.' Continue to 
read from the initial O of the word 'of; to the right; upwards; on 
the initials of the words of the text; spelling Onocab, you will 
arrive at the initial B of the word 'But'; thus keying the cipher 
from the initial of the first word of the last line to the initial of the 
first word of the first line. 

The acrostic figure here is : — 

But gentle people giue me ayme a while, 
A 
C 
O 
N 
and learne Of vs 
C 
S 
I 
C 
■ N 
A 
R 
"For the offence he dies, this is our doome. 



FRANCIS BACON 541 



tf Titus Mronlcns, 
But gent!i6 people giue me aymta while. 
For nature puts me to a heauie taske, 
Stand all a loofe, but Vnklc draw you ncere, 
To /hcdobfequious tcares vpon this frunkc, 
Oh take this warrec kifle on (hy pale cold lips, 
Thefc forro wfull drops vpon thy blood flaine face, 
The laft true duties of thy noble fonnc. 

LMarcui. Tearc for tcare. and louing kiflefer Idflci 
Thy brother Marcus tenders on thy lips, 
Oh were the fummc of thcfc^that I lliould pay, 
Countlefleand infinite, yet v/ould I pay them. 

Lucius. Come hither boy comc,<:omcand leamc of VS 
To melt in fhowcrs, thy Grandfire lou'dthec well. 
Many a time he daunft thee on his knee, 
Sung thee a fleepe, his louuig bread thy pilIow» 
Many a matter hath he told to thee, 
Mctte and agreeing with thine in&ncie. 
In thatrefpccl then, like a louing child. 
Shed yet fome finall drops from thy tender %ru^ 
Becaufc kind nature doth reqiure it fo. 
Friends fiiould aflbciatc friends in gricfi: andwoe. 
Bid him farewell, commit hira to.thcgraue„ 
Doetheta that kindnes, and takeleaue of them* 

Titer. Oh Grandlifc, Grandfire, cii'n with all my bait. 
Would I were dead lb you did hue againe, 
O Lord I cannot fpcake to hrni for wcepin^. 
My tcares will choake me if I ope my mouth. 

%omMMe. You {ad ^*5tr«K*rt>hauc done with woc% 
Giue {entenc-e on this execrable ^vrctch. 
That Bath Bccne breeder of thefe dire eucnts. 

Lucius. Setliim bread deepc ro earth and familh hiffl^ 
There let lum Handand rauc and cry for fbodc^ 
Tfany one rtlccues or pitties him. 
For the o0^nce he dies, this is our dooihe. 

5oait 



542 SOME ACROSTIC SIGNATURES OF 

Signature 225. 

This acrostic is found on the first page of The Tragicall Historie 
of Hamlet Prince of Denmarlce, in the Quarto edition of 1603. (See 
p. 545.) 

Note the only two O's or initial ciphers on the page. They ai-e 
the first letters of the lines : — 

O you come most carefully vpon your watch, 
and 

O farewell honest souldier, who hath releeued you ? 

Begin to read from the first cipher, or capital O; to the right; on 
all the letters of all words between the O's; downwards; spelling 
backwards Onocab, you will arrive at the letter B in the word 
'bid.' 

Begin to read from the lower cipher, or capital O; upwards; to 
the right; on all the letters of all words between the O's; spelling 
backwards Oxocab, you will arrive at the lettei- B of the same word 
'bid'; thus keying the signature from the only two initial ciphers 
on the page. 

The acrostic figure here is: — 

O you come, etc. 
N 
O 
C 
A 

Bid them make haste. 
A 
C 

o 

N 
O farewell honest souldier, etc. 

The cipherer seems to have taken advantage of the double entente 
of the two first lines of the play. 



FRANCIS BACON 543 

Signature 226. 

This acrostic is also found on the first page of The Tragicall 
Historie of Hamlet Prince of DenmarTce,m the Quarto edition of 
1603. (See p. 545.) 

Begin to read from the printer's ' signature ' B at the foot of the 
page ; to the right ; on all letters of all words on the page; upwai'ds ; 
spelling Baconocsicnakf, you will arrive at the initial F of the 
word ' farewell,' in the line: — 

O farewell honest souldier, who hath releeued you ? 

Begin to read from the cajjital O in this line; to the left (continu- 
ing the direction of the string of letters); upwards; on all letters 
of all words; spelling Onocabocsicnarf, you will arrive at the 
terminal F of the word 'of at the top of the page (and the last 
letter of the string). 



544 SOME ACEOSTIC SIGNATURES OF 

The acrostic figure here is: — 

The Tragicall Historic oF 

R 
A 

C 
I 

s 
c 
o 

B 
A 
C 

O 

N 
O Farewell honest souldier, etc. 
R 
A 
N 
C 
I 

s 
c 

And wil nOt let beliefe take hold of him, 

O 
C 
A 

B (Fruiter's Signature.) 



FRANCIS BACON 545 




The Tragicall Hiflorie of 

HAMLET 

Prince of Denmarke. 



Enter twoCentlneh. 

1 . O you come mod carefully vpon your watch, 
5 , And if you meetc Marcellus and Horatio, 
The partners of my watch, bid them make haftc. 
I. 1 will: See who goes there. 

Enter Horatio andMatcelbtt, 
Her. Friends to this ground. 
Mar, And leegemen to the Dane, 
O farewell honeft fouldier, who hath releeued you? 
I . BarmtrJe hath my place, giueyou good night 
Mar. HoWsy BarnarJa. 

1. Say, ijHar4/«i7 there? 
Hor. Apeeceofhun. 

a. Welcome Horatio, welcome good MtSrcetltu. 
Mar. What hath this thiogappeatM agaiue to night 

2. 1 haue feene nothing. 

Mar.^ Horatio faycs tisbutourfentafie, 
Atid wit not let bcliefetake hold of him, 
Touchingthis dreaded Hghc twice feeoc hy vs, 

B There- 



546 SOME ACROSTIC SIGNATUEES OF 

Signature 227. 

This signature is found on the first page of Tlie Tragedie of 
Hamlet Prince of Denmarlce, in the Quarto edition of 1604. 

Note the change that has taken place in the text of the page. 
Comj^are it with the previous facsimile. The former signature has 
been ol)hterated. But scan the last line of this page in the so-called 
second Quarto. It runs : — 

Fran. Barnardo hath my place; giue you good night. 
FRAN BA C O N 

Begin to read from the initial B of ' Barnardo' ; along the line; 
on all the letters; spelling Bacon, you will arrive at the initial N of 
the last word, ' night.' 

If you choose to include the name of the dramatis personae, you 
will have the name as it is signed to the ' Dedication ' of the first 
edition of the Essayes, namely, Fran Bacon. 



FEANCIS BACON 



647 




The Tragcdie of 

H AM LET 

Trince of Denmark^* 

Inter Smitfdo,MdFrMd[c0, twoCentinets^ 
Fnn. \I W NayarifweremcSraadand vnfoWeyourfelfe. 



Long liue the King, 
BarnarJo, 



Frart. 

Bar. Hce. 

Frdti. You come moft carefully vpon your honre, 

Bitr. Tis now ftrooke twelfe, get thee to bed Fratcifcot 

Fran. For this reliefe much thanks, tis bitter cold, 

Andlamfickatharr. 
Bar. Haue you had quiet guard ^ 
Fran. Notanioufeftirring, 
Bar. Well, good night: 

Ifyou doe meete Horatio and Marccl^{, 

Theriualls of my watch, bid them make haft. 
£nierIi>ratio, andTtdarctUus. 
Fr/m. I thuike Ihearc them, ftand ho»who is there i 
Hsra. Friends to this ground. 
Ttiay. . And Leedgemen to the Dane, 
Fran, Giueyou good ni»ht. 

THar. O, farwell honeft fotildiers, who hath relieu'd you '■ 
Iran, Bamatdo hath myplace jgiuejxiu good night. IxH Tran. 



Mar, 



548 SOME ACROSTIC SIGNATURES OF 

Signature 228. 

This acrostic is found in the last page of TJie Tragedie of Othello, 
as it is printed in the Quarto of 1622. 

Begin to read from the initial N of the word ' No,' which is the 
first word of the first line; to the right; downwards; on the term- 
inals of the words of the text; sj)elling Nocab Sicnabf, you will 
arrive at the initial F of the word ' Fmis.' 

Here we have an acrostic on terminals of all words on the page, 
begimiing on the initial of the first word of the first line, and ending 
on the initial of the first (and only) word of the last line. 

The acrostic figure here is : — 

No more of that : I pray you in yoxir letters, 
O 
C 
A 
B 
S 
I 

c 

N 
A 
R 
FINIS. 



FRANCIS BACON 549 



ToeMooreof Venice. 

No morcpfthat : I pray you in your letters, 

Whfn you flialhhcfevnluckydeedcs relate, 

Spcakccfthem as they are ; oodiirg extenuate. 

Nor fct downe ought in nwlicc.ihen muft you fpeakC} 

Of one that lou'd not vvifely, but too well .• 

Ofcne not cafily iealous.but being wrought, 

Perplext jnchc exircamc-; of otic whofchand. 

Like the bafe ludiart, threw a pcarlc away. 

Richer then all hU Tribe : of one whofc fubdued eyes. 

Albeit vnufcd to thc.racltingmoodc. 

Drops tcares as fafi 25 the jirabUu trees. 

Their Hicdicinall guna ; fet you downe this. 

And fay befides/hat in Jleppe oncci 

Where a Afali^mvit ind a 7Hrkaad7ttrkf, 

Beatc a f^Mrt/wwjand traduc'd the State; 

1 tooke bi'ch throate the circuindfcd dog. 

And fmotc him thus. Htjidbtbimftlft, 

Lod, O bloody pcried. 

Cra, Allthat'sfpokeismard. 

Oih, I kift thee ere I kild thcc,no way but this. 
Killing my fclfc,to die vpona kifC:. Htikt, 

CaJ, This did 1 fcare,but thought he had no Weapon, 
For he was great of heart. 

Lod. O Spartanc dog, 
Merc fell then angulfh,hunger,or the Sea, 
Looke on the tragicke lodging of this bed : 
This is thy"Worke,thc obicS poifons fight, 
Let it be bid : £rr<t/*<M,kcepc the houfe. 
And ccaze vpon the foi tunes of the Moore.* 
F or they fuccced to you.to you Lord Gouerneur, 
Rcinaincs the cenfure of this hclliOi villaine. 
The titne.thcplace^thc torture : O inforccit. 
My felfe will ftraitc aboord jSnd to the State, 
This heauy adl with heauy hcatt relate. 

Ixtwit emnit. 

FINIS, 



550 SOME ACROSTIC SIGNATURES OF 



CHAPTER XIV 

ACROSTICS MADE IN AN IDENTICAL WAY, BY JOHN MILTON, BEN 
JONSON, JOSEPH HALL, AND (?) RICHARD BARNFIELD 

Signature 229. 

Milton's poem, which appears (unsigned) in the second FoHo of 
Shakespeare's Comedies, Histories and Tragedies, contains one im- 
portant difference from its wording in the first collected edition of 
Milton's Poems published in 1G45; so I print facsimiles from both 
editions. (See p. 553.) 

We find that Milton has used the same method as that used by 
Ben Jonson in his poem in the first Folio. 

Observe the word ' bones ' at the end of the first line of the poem. 

Begin to read from the letter B of the word ' bones'; to the left; 
on the outside letters of the poem ; reading clean around the poem ; 
spelling Bacono, you will arrive at the letter O of the word ' bones,' 
having entirely encircled the poem. (This Italianate form cannot be 
here regarded as the ablative.) 

Begin to read from the letter O of the word ' bones '; to the right; 
on the outside letters of the poem; clean around the poem; spelling 
OxocAB ( = Bacono), you will arrive at the letter B of the word 
' bones,' having again entirely encircled the poem. 



FKANCIS BACOIS^ 551 

I reproduce the outside letters showing the reading in the second 
Folio. The spelHng is different in the Poems of Milton (Edition of 
1G45), but does not alter the result. 

WHATN E EDEMYSHAKESPEAREFORHISHONOURD BON ES 

T S 

O D 

V D 

D E 

W E 

T T 

H T 

F T 

T T 

H E 

T E 

T G 

D G 

A E 

THAT KINGS FOR SUCH A TOMBE WOULD WISH TO DIE 

Signature 230. 

Now note that if yon begin to read from the initial B of the word 
'bones'; to the left; downwards; on all the letters of all the words; 
spelling Bacox, you will arrive at the initial N of the word ' Name.' 

The acrostic figure here is : — 

Bones 

A 

C 

o 

Name. 

Now note that if you begin to read from the initial F of the word 
'Fame'; to the left; upwards; through the poem and back again; 
on all letters of all words; spelling Fra^j Bacon, you will again 
arrive at the initial N of the word ' Name.' 

The acrostic figure here is : — 



B 



N. 



/ 



R 



Fame 
.Name 



652 SOME ACROSTIC SIGNATURES 

Signature 231. 

The reader will now observe that the reading of the fourth line 
from the bottom of the poem runs, in the second Folio version : — 

Then thou our fancy of her selfe bereaving. 

And that in the facsimile from the Poems of Milton, it runs: — 

Then thou our fancy of it self bereaving. 

The change of the word ' her,' in the Folio of 1632, to the word 
' it ' looks like a revision by Milton for his collected edition of 16i5. 
This revision throws another acrostic into the poem, as follows. 

Begin to read /row the only letter F in the last line; to the right; 
upwards; on all the letters of all the words; spelling Ffrauncis 
Bacon, yon will arrive again at the initial N of the word ' name.' 

The acrostic figure here is : — 

Name 
O 
C 
A 
B 
S 
I 

c 

U 
A 
R 

F 

That Kings For such a Tomb would wish to die. 



a 
o 

o'l 






o ^ 



6 



o ^ 

rs -a 
c o 

CO M 



73 

o 



c , 

1:^ 



C 



c 

«j — 

s 
o 



ea 



II 

J -2 i 

= -o J! 

-a o ^ 



to 

— u 



■f 

o 

O 
u 

E 



o 



6a 



a 2 
■S E 



a^ -a 






5 

o 
a: 



o ? '^ 3 



*? I 

s 2 

o > 

I i 

= <« 



P «> ^ -3 4« 



15 </' 2 

S " o - 

^ "g 2 

C 3 A 



T3 3 

s J 

M i 



3 I 



^ -1 



— s -= 









2 -a 






«" .5 

C ^ 

< H 



to 



■< 
3 
■^ 



V 



3 







^ 






«5j .5i 






■** ^ ^ ° v" S" 



^ 



"5 ■?* .5 



■5 ^-s^, 



^ 3 2 » r* 






I I-'* 



s 



^^^^^^•^"^■^ 



a ^ 






o 
«> 









^ -p - S "ai. V, s: c 



O r^ 5^. .V* =r 



*• s *- " ^ ^ 2 ^,». 

^ JJ -i> o s>i V ^ ^ o^ »j 



•s a v^ 






554 SOME ACEOSTIC SIG:N'ATUKES OF 

Signature 232. 

As we have found these acrostics in a poem by Milton, let its turn 
to a book which Walter Begley ascribed to Milton for reasons given 
fully by him in his introduction to his translation in 1902 of the first 
and anonymous Latin edition of 1G48. This book is entitled Nova 
Solyma, and is a work of the same literary type as More's Utopia, 
or Bacon's New Atlantis. 

I reproduce the title-page of the first edition of 1648, as it appears 
in Begley's reproduction in facsimile. (See page 556.) You will ob- 
serve that it is anonymous. But facing the title-page is a page con- 
taining nothing but two hues of Latin, which run : — 

Cujus opus, studio cur tantum quaeris inani ? 
Qui legis, et frueris, f eceris esse tuum. 

Begley translates these Latin lines as follows : — 

' Whose is the book ? ' do you ask. ' Why start such a bootless en- 
quiry ? 
If you but read and enjoy, you will have made it your own.' 

Begin to read from the last letter 'I' of the last word on the 
first line; on all letters of all words; to the left; doAvnwards; spelling 
LsroTLiM ( = Miltoni = of Milton), yoii will arrive at the last letter of 
the second line, which is the M in the word 'tuum.' 

The acrostic figure here is : — 

inanI 

N 

O 

T 

L 

I 
tuuM 



FRANCIS BACON 555 

Signature 233. 

Now treat the types of the title-page itself as a string of letters ; 
you will observe that the first letter of the string is the N of ' Nova,' 
and that the last letter of the string is the M of the date. (See p. 556.) 

Begin to read from the letter N of the word ' Nova '; to the right; 
downwards; on all letters of all words; si^elling Notlim (Milton), 
you will arrive at the last letter of the string, which is the letter M 
of the date at the bottom of the page. 

The acrostic figure here is: — 

NOVA 

O 

T 

L 

I 

MDCXLYIII 

It is worth remembering that when in the following year a second 
edition of this book appeared, it bore the following full imprint: — 

Londini: Typis Johannis Legati, et venundantur 
per Thomam Underbill sub signo Biblii in vico 
Anglice dicto Woodstreet. MDCXLIX. 

And also that the two Latin lines containing his name MiLTONi(of or 
by Milton), which in the first edition had had a page to themselves, 
were now, in the second edition, transferred to the place on the title- 
page usually occupied by the author's name. 



556 SOME ACROSTIC SIGXATURES OF 



NOV^ 



SOLYM^ 



Libri Sex. 



I ON DINJ, 
Typis JOANHIS Lboati. 



MDCXLViri, 



FRANCIS BACON" 557 

Signature 234. 

My friend Richard T. Holbrook, professor of Mediaeval French 
and Italian literature in Bryn Mawr College, has written a valuable 
little book on Milton's relation to the music and musicians of his 
time.' I have had the privilege of reading this book in manuscript 
and the still more generous one of quoting freely from those pass- 
ages which thi'ow light on my own work. Indeed, I am indebted 
to my friend for the suggestion that acrostics might be found in 
Milton's Italian poems. Professor Holbrook offers both acrostic and 
circumstantial evidence to show that Leonoi-a Baroni was the name 
of the woman to whom Milton addressed these iDoems. Masson dis- 
misses, as a fancy for which there is no real ground, the surmise 
that they were addressed to this attractive and famous singer.^ 

Donna Leonora's initials were L. B. Now it is not to be supposed 
that the good-looking John Milton was an anchorite, or that he was 
ignorant of the literary devices and tricks of type so common among 
the Italian wits of that day. It is even possible that he had seen a 
book, issued at Venice in 1623 and again at Naples in 1028, entitled 
11 Teatro delle glorie della signora Adriana Basile. Adriana was a 
Neapolitan singer, famous from about 1600 to about 1640. This book 
contains poems by a score of authors, some of them of noble birth, 
and in several languages, — Latin, Greek, Spanish, and Italian. 
Among others, Francesco Massa lauds Adriana and her husband, 
Mnzio Baroni, in fourteen hexameters, the hiilials of which form 
the name of Muzio (Mutius), and the finals that of Adriana Basile 
(Basilis).' 

But we must face the possibility that Milton knew little and cared 
less about such ' toys ' as acrostics.^ If that was the case, it is inter- 
esting to discover that he saw fit to use, or devise, those which 
you have already seen, and those, very skilfully concealed, which 
follow. 

■ A Poet and his Music. By Richard T. Holbrook. (Not yet published.) 

* The Poetical Works of John Milton: edited, with Memoir, etc., by David 
Masson, vol. i, p. 62. A\&o, Life of John Milton. Masson, vol. i, pp. 774-5. 1859. 

« See A. Ademollo, La belF Adriana, etc. Citta diCastello, 1888, pp. 320-323. 

* But what about that outrageous practical joke which Milton, at the age of 37, 
played on William Marshall in the Greek inscription under Milton's own portrait 
in the first collected edition of his own poems in 1645 ? 



558 SOME ACROSTIC SIGNATURES OF 

In the light of the purely historical (non-acrostic) part of Pro- 
fessor Ilolbrook's argument that the unknown Italian lady may well 
have been Leonora Baroni, it is interesting to note that the typo- 
graphical opening of the first Italian sonnet is composed of the 

word Donna, and the initials -d (See p. 564.) Their position in the 

sonnet itself is : — 

Donna 
L 
B 

Professor Holbrook tells me that, according to an opinion given to 
him by an accomplished mathematician, the combination D L B at 
the beginning of the sonnet ' might occur, by chance, once in eight 
thousand sonnets. The calculation is based on the theory of chances. 
The greater the number of letters occurring as initials at the begin- 
ning of the verses, the smaller would be the chance that a given 
combination, or monogram, would fall at the very beginning and 
nowhere else. 

Now begin to read from the initial D of the word ' Donna,' to the 
right; on all the letters of all the words; spelling Donna Leonora, 
you will arrive at the letter A, with which the line ends. 

Begin to read from the initial L of the first word of the second 
line; to the right; upwards; on all the letters of all the words; spell- 
ing Leonora, you will again arrive at the last letter A on the first 
line ; thus meeting and keying the previous reading. 

The acrostic figure here is: — 



^^^^° 



DONNA LEggiadra il cui bel nOme hoNORA 



^ This sonnet is the first poem in a sequence of six poems, all of them being 
sonnets, save the third, which is a canzone. There are eighty-five lines in these 
six poems, as may be readily seen, with the monogram D L B at the head, where 
we should expect it to be. 



FRANCIS BACON 559 

Signature 235. 

Donna 

Begin again to read from the initial B in the group L to the 

B 
right; upwards ; spelling Baeoni, yon will arrive at the letter I of the 
word ' il ' on the second line. (See p. 5G4.) 

Begin to read /rom the only letter B on the first line ; to the right, or 
to the left; downwards; spelling Baroni, you will arrive again at 
the letter I of the word 'il' on the second line; thus keyhig the 
signature Baroni. 

The acrostic figure here is : — 

Bel nome honora 

A 

R 

O 

II nobil, etc. 

O 
R 
A 

Ben e colui, etc. 



560 



SO^IE ACROSTIC SIGNATURES OF 



Signature 236. 

Now observe the words i' entrata (twelfth line). They may mean 
'the beginning,' or 'the entrance.' (See p. 564.) 

Begin to read from the initial I of the word ' iV (first line); to 
the right; downwards; on the terminals of all the words; speUing 
Inorab Akonoel (Leonora Baroni), you will arrive at the letter L 
of the words ' i' entrata ' (twelfth line). 

The acrostic fio:ure here is : — 



Donna leggiadra 



TTie English of this may be ren- 
dered, ' Fair Lady, Leonora 
BaronV One may he "permitted to 
wonder lohether Milton disclosed 
his acrostic skill to Mary Poioell. 



I 

N 
O 
R 
A 
B 
A 
R 
O 
N 
O 
E 
L' entrata, 

Note. — This is a pretty play with the words, rather than an acrostic: it com- 
bines both. 



FEAKCIS BACON 561 

Signature 237. 

Let us now turn to the second Italian sonnet, by Milton. (See 
p. 564.) 

Begin to read from the initial L of the first word of the second line; 
to the right; on all the letters of all the words; spelling Leonora, 
you will arrive at the letter A at the end of the word ' pastorella,' 
which is the last letter on the line. 

Begin to read from the last letter (A of the word ' sera ') of the 
first line; to the left; downwards; on all the letters of all the words; 
spelling A Leonora, you will again arrive at the last letter A in the 
word ' pastorella.' 

Begin to read from the last letter (A of the word ' bella ') of the 
third line; to the left; upwards; on all the letters of all the words; 
spelling A Leonora, you will again arrive at the last letter A in the 
word ' pastorella.' 

The acrostic figure here is : — 

serA 
L 
E 
O 

O 
R 

L' avEzza giOviNetta pastORellA 

li 
O 

o 

E 
L 

bellA 



562 SOME ACROSTIC SIGI^ATURES OF 

Signature 238. 

Leonora Baroni was commonly spoken of as L'Adrianella, or 
simply as Adrianella. We are therefore not altogether surprised to 
find that the first two lines of the second Italian sonnet contain still 
another acrostic. (See p. 564:.) 

Begin to read from the letter A which is the end of the word 
' sera ' in the first line ; to the left ; downwards ; spelling Adrianella, 
you will arrive at the last letter of the second line, thus : — 

QUAL IN COLLE ASPRO, AL IMBRUNIR DI SERA, 

° a ir....d J^ C ■ <« 

■ L'AVEZZA GIOVINETTA PASTORELLA 

•• e 11a 

Or, if you prefer to see the two lines laid out as a string of letters, 
the acrostic can be shown like this: — 

ARES ID RINTJRBMI LA ORPSA ELLOC NI LAUQ L'AVEZZA GIOVINETTA PASTORELLA. 
A d..r.i a n e 1 1 a. 

Observe that these two lines contain precisely fifty-nine letters. 
Counting from the end of either line will show you that the letter 
A of the word ' Qual ' is the centre of this string. 

Now turn to the next signature. 



FRAKCIS BACON 563 

Signatu7'e 239. 

Again observe the first two lines of the second sonnet. (See 
p. 564.) They run: — 

QUAL IN COLLE ASPRO, AL IMBRUNIR DI SERA 
L'AVEZZA GIOVINETTA PASTORELLA 

As a working hyioothesis let lis suppose that Milton is playing 
with the types of these lines. Let us bear in mind that the meaning 
of 'qual' is toho, or one ivho. The middle letter of these two lines is 
the A of 'Qual' (Qua may mean 'Here,'' 'In this 2)lace^). Let us 
therefore suppose that there is a double entente in the word ' Qual,' and 
look at these two lines of type as a cipher, or circle of letters, divided 
after the letter L of the word 'Qual.' We find that if you begin to 
read from the letter L of the woi-d ' Qual '; to the left; downwards, 
and around the circle of letters; spelling Leonora Baroni, you 
will arrive at the letter I of the word 'in'j and thus meet the letter 
L from which you started. 

The acrostic fisrure here is : — 



l-N-C-6-L-L-E-A-S-P-R-O-A-fcI-M-B-R-U-N-l-R-D-I-S-E-R-A-.A 



L 



L 

L 

/ I 

Q.-L-A-V-E-Z-Z-A-G-r-0-V-l-N-E-T-T-A-P-A-S-T-O-R-E^ 

« on ^ ^ 

The observant reader will note that when we join these two lines 
at the ends in this way we get the word ' Qual ' at one end, and the 
word ' ella,' at the other. This residt may not be intentional. It is 
worth mentioning. 

Compare these tricks of type with that used by Tasso when hon- 
ouring another Leonoi-a. I quote again from A Poet and his 3fusu; 
by Professor K. T. Holbrook: ' Li his Life of Torqnato Tasso ( Vita 
di Torqnato Tasso, etc. Li Venetia, mdcxxi), the Marquis Giovanni 
Battista Manso (1560?-! 645), who had been Tasso's host at N^aples 
in 1592 and entertained IMilton early in 16.39, declares that no one 
had ever discovered the identity of the lady so greatly loved by 
Tasso, although in many jDarts of his rimes he artfully disclosed 
her name, which was Leonora, and esjiecially in the sonnet which 
begins. Rose, che V arte inuidiosa ammira [Roses that envious 
Art admires], wherein he thus concludes: . . . E di si degno cor tuo 
strale onora [And honour thine arrow with so worthy a heart], where 
with the last syllable of the word "straZe" [i. e. Le] and with the 
following "onora," he composed the name of Leonora; and in 
many other places likewise, in which, playing on the words " ora " and 
" aura," he stealthily reveals the name of his lady.' 

Note. — See Milton's second epigram, Ad Zeonoram Homae Canentem. 



f45; 

formyrellcfi ycthadftnoreafonwhy. 

Whether the Mufe, or Love call thee hi; mite, 
Boih them I fervejand of their craia am L 

II. 

Vofina UggUdra, H cut bel mme honor* 

Lberbofi val di Rhenot e U nohil vxT(9t 

Bin e colui d'ogni valorefcarco 

J^Mi/ tuo jpino lentil noninnamorat 
Che doUemcntc mojirafi difuori 

Ve fuoi attifoavigiamaiparco, 

E i don\ chcfon d'amorfaetteedarco. 

La ondeValtA tui virtu iinjiori. 
Sluando tu vagaparli^ c Ueta canti 

Che mover pojfi duro alpejire legno, 

Cuardi ciafcun a gU occbit ed a gli oreahi 
Vemrata, chi di tcfi truovi indegn* ; 

CrAtU foU di fii gli vaglia, in ami 

Che* I di^o amorofo al cuor finvecdn* 

III. 

i^alincoUca^rOj al imlrunir ii fertt 
Vavexxa giovinetta paJloreUa 
Fa bagnando Cher^etfa Jirana e heUt 
Che malp^ande a difufatt^cvA 



Fnr 



(46) 

. Fnof ilfmt n.ttU af/rnt primavera, 
CofiAmof mcco infu U lingua fiielU 
Vejlj. iL fior novo di (Irania favcUa, 
Mcmrc io di tCfvenofamemc altera^ 

Canto, dal mio buon§tp«l miintefo 
E'l bet tiimigi cavgio col bcl Arno, 
Amor lovolfc, ed io a faltrui pcfo 

SeppicliA'inor cofa mxi volfc indarno, 
Vch ! fof'il mio ciior lento c*l durofeno 
A chi piamz dU cielfi btton tcmno. 

Canzonet 
"D Idonfl doniie cgiovani amor oft 
M'accojlaiidofi morno, e pcrche fcrivi, 

Fercbe tufrivi in lingiu ignotacflntna 
Ferfeggiaudo d'arnor, e come t'ofi ? 
Viuncfe la tuafpcmcfa mAivana, 
E depcnfifri Io miglior t'arrhn i 
Cofi mi van bmlando, altririvi 
Altri lidi t*afpettan, C altre onde 
Hellc cui verdi fpondc 
Spumati ad hor , ad bor a la tua cbiomx 
Vimtnortalguidcrdon d'cterncfrondi 
Fercbe alle fpalte tue fovcrchia foma } 
Canym dirotti, e m^er me rif^ondi 



566 SOME ACROSTIC SIG^'ATURES OF 

Signature 240. 

This acrostic is found in Ejngramme XXXVII. On ChevWill 
The Lawyer, by Ben Jonson (see p. 568). 

Begley hazards the guess that Glievh-ill The Laioyer was a hit at a 

Francis Bacon {Is it Shakesjyeaj-e, p. 92), and my friend John Macy ■ 

shows me that if we begin to read from the initial N of the first 
word of the first line; to the right; downwards; on all the letters of 
all the words, spelling I^ocab Sicnarf (Francis Bacon), we shall 
arrive at the initial F of the first word of the last line. 

The acrostic figure here is : — 

'O cause, 



N' 



O 
C 
A 
B 

S 
I 

c 

A 

R 

For this : 



The reader will observe the way the letters are bunched around 
the large initial N. They are arranged thus; independently of the 
cipher:— ^q ca 

The capital letters of the stanza also tell a story. They are : — 

"0 C 

B 
A F 



N' 



F 

Here we have F F BACON, without much difficulty. 

There is no reason to suppose that this was a malicious squib. 
I have heard as personal and pungent wit applied by one member 
to another of a club of friendly acquaintances. They were fond of 
hard hitting in those days. It may have been written and handed 
around in manuscript with real malice. We do not know. 



FEANCIS BACO]^ 567 

Signature 241. 

This acrostic is found in Epigramme LIIII by Ben Jonson, as 
it appears in the Folio edition of his works dated 1616. (See below.) 

Begin to read from the terminal IS^ of the word ' On ' in the title 
On Chev'ril; to the left; on the terminals; downwards; spelling 
NocAB, you will arrive at the initial terminal B of the word ' barre.' 

Begin to read from the terminal N of the word 'men,' which is 
the last word of the stanza; to the left; upwards; on the termin- 
als; spelling NocAB, you will arrive again at the initial terminal B 
of the word ' barre.' 

Begin to read from the terminal N of the last word of the stanza; 
to the left; upwards; on all the letters of all the words of the stanza 
and its title ; spelling Nocabacon, you will arrive at the terminal N 
of the word ' On ' in the title. 

In both instances the acrostic figure is : — 

ON CHEV'RIL 
O 
C 
A 

Barre 
A 
C 
O 

meN 



c 



LIIII 

On Chev'ril. 

Hev'ril cryes out, my verfes libells are; 

And threatens the Starre-chamber, and the barre: 
What are thy petulant pleadings, Chev'ril, then. 
That quit'ft the caufe fo oft, and rayl'ft at men.? 

The Epigramme as here printed is a literal and typographical 
copy of its rendering in the Folio of 1616, in the Lenox Library, 
!New York. 



568 SOME ACROSTIC SIGNATURES OP 



XXXVII. 

On Che V rill the Lawyer. 

NO caufe, nor client fat, will ChevVill leefe. 
But as they come, on both fides he takes fees. 
And plealcth both. For while he melts his grcace 
For this ; that winncs, for whom he holds his peace. 

XXXVIII. 

To Person Gviltie. 

Facsimile from the first Folio edition of Ben Jonson's Works. Published in 1616. 



XXXVII. 
On Chev'rill The Lawyer. 

NO caufe, nor client faf, will Chev'rill leefe, 
But as they come, on both fides he takes fees, 
And pleafeth both. For while he melts his grcafe 
For this : that winnesjfor whom he holds his peace. 

Facsimile from the second FoUo edition of Ben Jonson's Works. Published in 1640. 



FKANCIS BACON 569 

Signature 242. 

This acrostic is found in Epigramme L VI. On Poet-Ape, by Ben 
Jonson (see pp. 572-573). 

I print this Epigramme in facsimile from the first Folio (1616) of 
the Works of Ben Jonson, and also in facsimile from the second 
Folio, which was published in 1640. Bacon was Attorney-General 
in 1616, and had been dead fourteen years at the date of the second 
Folio. It is therefore interesting to observe the droj)ped letters at 
the end of the last word of the poem as it appears in the latter 
edition. I am told by Mr. Eobert Seaver of The Riverside Press 
that these letters wei-e probably dropped by intention, as the im- 
probability of so even a tyi^ographical result by accident would be 
too great to admit of another explanation. 

Let us take the hint, if it is one, and drop, or disregard the silent 
* e's ' of the words at the ends of the lines of the poem. 

Begin to read from the terminal F of the word ' chief(e)'; which 
is the last word of the first line; to the left; on terminals; down- 
wards; spelling Fran Bacon, you will arrive at the terminal N of 
the word ' own(e).' 

Begin to read from the initial F of the word ' From,' which is the 
first word of the last line; to the right; upwards; on terminals; 
spelling Fhan Bacon, you will again arrive at the terminal N of the 
word ' own(e).' 

The acrostic figure here is : — 

Poore Poet- Ape, that would be thought our chieF(e) 

R 
A 
N" 
B 
A 
C 
O 
He takes up all, makes each mans wit his ow]S'(e) 

O 

c 

A 
B 

N 
A 
R 

From locks of wool], etc. 



570 SOME ACROSTIC SIGNATURES OF 

Begin to read from the initial F of the word ' From,' which is the 
first word of the last line; to the right; upwards; on the terminals; 
spelling Ffrauncis BACoisr, you will arrive at the terminal N of 
the word ' ON ' in the title ' ON POET-APE.' 

ON POET-APE. 
O 
C 
A 
B 
S 
I 

c 

N 
U 
A 

R 
F 

From locks of wooU, etc. 



FRANCIS BACON 571 

The epigram On Poet-Ape, read in the hght of the acrostics which 
are found running through it, is subject to much interpretation. AVe 
seem to have Bacon here charged with taking up all, and with 
making each man's wit his own. We seem to see him charged witli 
buying up reversions of old plays and with re-writing them. Jonson 
seems to have sup^josed that Bacon made money out of his literary 
work. He takes the attitude, not unknown in these days, that a man 
was doing a contemjitible thing when he bought plays or manu- 
scripts written by other men, re-wrote them, and turned them out 
under other than the original author's name. It is possible that 
when these squibs were written, Ben Jonson was not aware of the 
vast plans foi- the advancement of learning which Bacon was ma- 
turing, and of the important part which the Drama might play in 
Bacon's great scheme. AVe know that Jonson came to know and to 
revere Bacon at a later period, and to write of him in his Scriptorum 
Catalogus {Discoveries) that he ' hath filled up all numbers, and per- 
formed that in our tongue, which may be compared or preferred 
either to insolent Greece, or haughty Rome . . .: so that he may 
be named, and stand as the mark and aKix-rj of our language.' Read- 
ers will be interested to compare this praise of Francis Bacon with 
similar praise of Shakespeare in Ben Jonson's poem To the memory 
of my heloued, The Avthor Mr. William Shakesjieare, in the first 
Folio, which I give in facsimile on pp. 324 and 325. 



572 SOME ACROSTIC SIGNATURES 



L7 I. 

On Poet-Ape. 

POore Po E t-Ap E, that would be thought our chiefc, 
Whole workes are eene the fripperic of wit. 
From brocagcis become Co bold a thiefe, 

As we, the rob'd, leaueragc,and pittie it. 
A t firft he made low (hifts, would picke and gleane. 

Buy thereuerfionof old piayesj nowgrowne 
To'a little wealth, and credit in thtfceue, 

He takes vp all, makes each mans wit his ownCt 
And,told of this, he flights it. Tut, fuch crimes 

The fluggifh gaping auditor deuouresj 
He markes not whofe 'twas firfl : and after-times 

May iudge it to be his, as well as ours. 
Foole, as if halfe eyes will not know a fleece 

From locks of wooll, or ftireds from the whole peecc I 

Facsimile from the first Folio edition of Ben Jonson's Works- Published in 1616. 



1 



Epi 



orammes. 

o 



LVI. 
On Poet-Ape. 

POore Poet- Ape, that would be thought ourchiefea 
Whofe Works are eere the frippery of wit. 
From brocage is become fo bold a theefe, 

As we, the rob'd, leave rage, and pitie Ir. 
At firft he made low {hifts, would pick and gleane. 

Buy the reverfion of old Playes ; now growne 
To'ajittlc wealth, and credit in the Scene, 

He takes up all, rqikes each mans wit his owne,, 
And, told of this, he (lights it. Tut,fuch crimes 

The (luggifh gaping auditor devoures; 
He markcs not whofe 'twas firft: and after-times 

^4Jly judge it to be his, as well as ours, 
loolc, as if halfe eyes will not know a fleece 

From locks of wooUjOi (hreds from the whole peec^ 

LVI J. 
On Baudes, AndUsuhers. 

IF, as their ends, their fmits were ib the fame, 
Baudry, andllfury were one kind of game. 

LVIir. 

To Groome Ideot, 

D E o T, laft night, I pray'd thee but fotbcarc- 
To rcadc my verfes ; now J muil to heare ; 
For offring, with thy fmiles,. my wit to grace, 
Thy ignorance ftill liughs in. the wrong place. 
And fo my (harpncfle thou no leflc dif-joynts. 

Than thou did' ft late my fenfe, loodng my points. 
So have 1 feene at CHRisT-raafle fpOEts^onc joll. 
And, hood-wink'd, for a man, embrace a poft. 

LIX. 
On Spies, 

Facsimile from the second Folio edition of Ben Jonson's Works. Published in 1640. 



1 



574 SOME ACROSTIC SIGNATURES OF 

Signature 243. 

Hall (later a bishop) affords us an example of the kind of satire 
that could be written against a salacious or otherwise objectionable 
anonymous author. He does it in such a way that the author writhes 
under the hish, but is deprived of legal redress iniless he discloses 
his identity and acknowledges that he is the author of the writing 
satirised. The satire to which I refer was written by Hail against an 
author whom he disguises under the suggestive name Laheo. It 
was published in his Virgldeniiae {' A Bundle of Rods'), in 1598, 
and is to be found in Book iv, Sat. i, line 37, and runs : — 

' Labeo is whip't, and laughs me in the face; 
Why ? for I smite and hide the galled place. 
Gird but the Cynick's Helmet on his head,' 
Cares he for Talus or his Flayle of lead ? 
Long as the crafty Cuttle lieth sure 
In the black Cloude of his thick vomiture; 
Who list complain of wronged faith or fame 
When he may shift it to another's name ? ' 

Horace refers us to one Labeo in Book i, Sat. iii, line 82, the note 
to which says ' Furiosior M. Antistio Labeone, Jurisconsulto contu- 
maci ac impoi-tuno, qui multa nimis libere in Augustum dixit,' and 
gives a fuither i-eference to Suetonius, In Augustum, c. 54. See Q. 
Horatii Flacci, Poemata cum Cominentariis : Joh. Min-Ellii, Rot- 
terdami (1714). In Piiilemon Holland's translation (160G) of Sue- 
tonius's Ilistorie of Twelve Caesars (The Tudor Translation, p. 128), 
we read: ' Antistius Labeo at a certaine Election of Senatours, when 
one man chooseth another, made choise of M. Lepidus, who some- 
time was (Augustus) mortall enemie, and then in Exile. Now when 
he demaunded of the said Antistius, If there were not others more 
worthy to l^e chosen ? hee returned this aunswere, That every man had 
his owne liking and judgement by himselfe.' 

* Begley connects the reference to the Cynick's Helmet with the Knights of the 
Helmet who attended the Prince of Purpoole in the Gray's Inn Revels at which 
A Comedy [or A Plaii\ of Errors was played in 1594. This is a mere inference on 
Begley's part, but it is worth noting alongside Francis Bacon's letter to Eliza- 
beth : which he dates ' from my Tub not yet hallowed by your sacred Majesty, 
this Xllth of March, 1599.' 

Gray's Inn was ' situate within the manor of Pirpoole in Holborne, being an 
ancient Prebend of the Cathedral Church of Saint Paul in London.' (Stowe, 
Chronicle, Edition 1631, p. 1073.) The transition from Pirpoole to Purpoole is 
made by an easy pun ; and while here we may as well also remember that Carleton, 
in a gossiping news-letter to Chamberlain, dated April-May 11, 1606, tells him 
that ' 8ir Francis Bacon was married yesterday to his young wench in Maribone 
Chapel. He was clad from top to toe in purple,' etc. Bacon was 45-46 years of age 
at this time. (See also Is it Hhakespeare? By A Cambridge Graduate, pp. 12-20.) 

The reader may draw what conclusions he will from this note. 



FEANCIS BACON^ 575 

Let us examine Satire 1, Book ii, by the same writer (see pp. 576- 
577.) 

Begin to read from the initial F of the first word of the first fine ; 
to the right; downwards ; on the initials of the words ; spelling Ffran- 
cis Bacon, you will arrive at the initial N of the word ' not ' (second 
line, page 24, of facsimile). 

Begin to read from the initial F of the first word of the last line; 
to the left; upwards; on the initials of the words; spelling Ffran- 
cis Bacon, you will again arrive at the initial N of the word ' not ' 
(second line, page 24); thus keying the cipher from o^Ji^osite ends 
of the comi:)lete satire, to a central point. 

The acrostic figure here is : — 



F 



or shame write better Ldbeo, or write none. 



F 
R 
A 

N 
C 
I 

s 

B 
A 
C 
O 

Be he a Dwarfe that writes IS'ot their as I. 

O 
C 
A 
B 
S 
I 

c 

A 
R 
F 

For shame write cleanly Laheo, or write none. 

It is possible that Hall knew the Bacons' method of signature, and 
in this way wrote the name of the man satirised. The application of 
the satire would thus become apparent to Bacon. For Hall's relations 
with the Bacon family see the Dictionary of National Biography. 

The facsimiles are made from the edition of 1602. 



576 



SOME ACROSTIC SIGNATURES OF 



« ^ 



3 
O 

C 

•^ o s 
c .5 






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CQ 



o O 



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-C ^ Q o " i- ."^ 



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«-• •■ 

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^ rt ^« -^ ZH ^-^ ^ *- .*^ V* *^ r% *^ w4 T" 



43 

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= 2-. 















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c>§ fc •- 2 *;f -° -^ '*' vii 3 t;-j:'&3 



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h4 «^ *« ^ 



" n iP ^ j: y .« a 5P « •- 



o 
c . 

c o 






5 -u o s •V-* > o o f- 7: E 

5 i; -S '^ \> *• rs ,^ #^r^ cj -C 5r 



c 

E f 
o pO 



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9* *<r*V^K''Si hMZHWUR«J>-lHH4H<^< 



FRANCIS BACON 



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B 






8 

2 *< 

.S B wSCH H 

^ o c 5 -» «^ 

.S S £i H O ':i 

.s:"^ 2 S 2 c 

^ ■« Si: S. o 

"S § 



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/v. n. 

ra S 
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578 SOME ACROSTIC SIGNATURES OF 

Signature 244. 

This acrostic is found in An Ode, a poem printed in Poems: In 
dniers Jiumours. I have ah'eady remarked upon the reasons which 
have led some scholars to ascribe this book to Barnfield (see footnote 
to p. 15; and text of p. 174). The version which I use is that found 
in Arber's reprint. I have been unable to obtain a facsimile (see 
p. 581.) 

Begin to read on the initial A of the first word of the first line; to 
the right; downwards; on the initials; spelling Aj^tonio, you will 
arrive at the initial O of the word ' of ' in the hue : — 
Carelesse of thy sorrowing. 

Begin to read from the initial F of the first word of the last line ; 
to the right; upwards; on the initials; spelling Fkancisco, you will 
arrive again at the initial O of the word ' of ' in the line : — 
Carelesse of thy sorrowing. 



fra:ncis bacon^ 579 

The acrostic figure here is : — 

A S it fell vpon a Day, 

T 
O 

N 
I 
Of thy sorrowing. 

S 
I 

c 

N 
A 
R 

Faithful] friend, from flatt'ring foe. 



580 SOME ACKOSTIC SIGNATURES OF 

Signatu7'e 245. 

This acrostic is also found in An Ode (see p. 581). 

Begin to read from tlie initial A of the first word of the first line 
of the poem; to the right; downwards; on the terminals; spelling 
Antonio Bacono, you will arrive at the initial Oof the word 'on,' 
in the line : — 

None takes Pitty on thy paine. 

Begin to read from the initial F of the first word of the last line 
of the poem; to the right; upwards; on the terminals; spelling Fran- 
cisco Bacono, you will again arrive at the initial O of the word ' on,' 
in the line quoted above. 

The acrostic figure here is : — 

S it fell vpon a Day, 



A 



N 
T 
O 
N 
I 
O 
B 
A 
C 
O 
N 

On thy paine : 
N 
O 
C 
A 
B 
O 
C 

s 
I 
c 

N 
A 
R 

Faithfull friend, from flatt'ring foe. 



FRANCIS BACON 581 

A.n Ode. 

AS it fell vpon a Day, 
In the merrie Month of May, 
Sittmg in a pleasant shade, 
Which a groue of Myrtles made, 
Beastes did leape, and Birds did sing, 
Trees did grow, and Plants did spring : 
Euery thing did banish mone, 
Saue the Nightingale alone. 
Shee (poore Bird) as all forlorne, 
Leand her Breast vp-till a Thorne, 
And there sung the dolefulst Ditty, 
That to heare it was great Pitty. 
J^ie, fie, fie, now would she cry 
Teru Teru, by and by : 
That to heare her so complaine, 
Scarce I could from Teares ref raine : 
For her griefes so liuely showne. 
Made me thinke vpon mine owne. 
Ah (thought I) thou mournst in vaine; 
None takes Pitty on thy paine : 
Senslesse Trees, they cannot heere thee ; 
Ruthlesse Beares, they wil not cheer thee. 
King Pandion, hee is dead : 
All thy friends are lapt in Lead. 
All thy fellow Birds doe singe, 
Carelesse of thy sorrowing. 
Whilst as fickle Fortune smilde. 
Thou and I, were both beguilde. 
Euerie one that flatters thee. 
Is no friend in miserie : 
Words are easie, like the winde ; 
Faithfull friends are hard to finde : 
Euerie man will bee thy friend. 
Whilst thou hast wherewith to spend : 
But if store of Crownes be scant. 
No man will supply thy want. 
If that one be prodigall, 
Bountifull, they will him call. 
And with such-like flattering, 
Pitty but hee were a King. 
If hee bee adict to vice. 
Quickly him, they will intice. 
If to Woemen hee be bent. 
They haue at Commaundement. 
But if Fortime once doe frowne. 
Then farewell his great renowne : 
They that fawnd on him before, 
Vse his company no more. 
Hee that is thy friend indeed, 
Hee will helpe thee in thy neede : 
If thou sorrowe, hee will weepe ; 
If thou wake, hee cannot sleepe : 
Thus of euerie griefe, in hart, 
Hee, with thee, doeth beare a Part. 
These are certaine Signes, to knowe 
Faithfull friend, from flatt'ring foe. 



582 SOME ACROSTIC SIGNATURES OF 



CHAPTER XV 

INSTANCES OF WORK ACKNOWLEDGED BY FRANCIS BACON IN 
WHICH SIMILAR ACROSTIC SIGNATURES ARE FOUND CON- 
STRUCTED BY THE SAME METHOD AS ARE THOSE WHICH 
HAVE PRECEDED 

Essayes — Religious Meditations — Places of perswasion and dis- 
swasion — A Translation of Certaine Psalmes 

Signature 246. 

I NOW turn to the little volume by Francis Bacon which contains 
the three small books, each with an anonymous title-page, entitled, 
Essayes, Religious Meditatioyis, Places of perswasion and disswasion 
(published 1597). In his ' Dedication' to 'his deare Brother' An- 
thony, which is given in facsimile on pages 28-29, Bacon does not say 
in so many words that the three books had been going around anon- 
ynicnisly in manuscript, ' as they passed long agoe ' from his pen ; 
and by the phrase ' retiring and withdrawing mens conceites ' he may 
have meant simply ' not printing.' He does say, however, ' These 
fragments of my conceites were going to print. To labour the stale 
of them had bin troublesome, and subiect to interpretation; and to 
let them passe had beene to adventure the wrong they mought receiue 
by vntrue Coppies, or by some garnishment, which it mought please 
any that should set them forth to bestow vpon them. Therefore 
I helde it best discreation to publish them my selfe as they passed long 
agoe from my pen.' It is a fair supposition that these essays had 
been anonymous in their manuscript form, though we have no direct 
evidence that they were. That the first printed edition is without 
name on its three title-pages leads one to suppose that Bacon had 
prepared them for anonymous publication and had inserted the 
signed dedication before going to press. 

Be that as it may: I was curious to know if Bacon had put his 
mark of identification on the essays, in his usual manner, and by his 
usual method. There is no indication that he did so, initil we come 
to the last essay in the first book, Essayes. Here we find that there 



FRANCIS BACON 583 

is no word on the first page witli an initial N except the word ' Ne- 
gociating ' in the title. As the first word of the title begins with an 
initial O, Ave are on the track of a possible signature. 

Begin to read on the initial F of the word ' Finis ' at the end; to the 
right ; upwards ; throughout the essay ; on the initials of the words 
of the text; spelling F Bacoko, Fr Bacono, or Fra Bacono, you 
will arrive at the initial O of the word ' Of,' which is the first word 
of the title. Thus we have here a signatiu'e from the first letter of 
the first (and only) word on the last line to the first letter of the first 
word of the first line. 

The acrostic figure here is: — 



Of 


Of Of 


N 


N N 





O 


c 


c c 


A 


A A 


B 


B B 


FINIS R A 




FINIS R 




FINIS 



584 SOME ACROSTIC SIGNATURES 

Signature 247. 

N^ow note the words ' backe againe,' which begin the last line of 
the first page of the essay. 

Begin to read from the initial B of the word ' backe'; to the right; 
upwards; on the initials of the text; spelling Bacono, you will arrive 
at the initial O of the word ' Of ' in the title. 

The acrostic figure here is : — 

Of Negociating. 

N 

O 

C 

A 

Backe againe 

Begin to read from the initial O of the word 'Of in the title; 
downwards; to the right; on the initials of the words of the text; 
spelling backwards Onocab, you will arrive at the initial B of the 
word 'backe.' Thus this signature is keyed forwards and back- 
wards from the initial of the first word of the first line to the initial 
of the first word of the last line. 

The acrostic figure here is : — 

Of Negociating. 

N 

O 

c 

A 

Backe againe 

Note that these results are accomplished by the simple expedient 
of banishing the initial N from the words of the first page of text 
excepting the initials of the words of the title. 






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586 SOME ACROSTIC SIGNATURES OF 

Signature 248. 

This acrostic is found in the last of the ' Meditationes Sacrae,' 
which compose the second of the three books of Essayes, etc. 

Readers of original texts of that time will be accustomed to 
the irregular division of words, so they will not be surprised to see 
that the word ' vbique,' on the first line of the text, is cut in two 
after the letter ' v.' This attracted my attention, because without 
this division there would not have been a letter ' b ' on the outside 
of the text in any line of the meditation. 

Note that the letter (on the top line) above the ' b ' is ' O.' 

Begin to read from the letter ' O ' next to the big decorative let- 
ter ' C '; around the whole two pages (or the first page alone) ; on 
the outside letters of the solid text; to the right; spelling Ono- 
CAB, i. e. Bacono, backwards, you will arrive at the letter ' b ' of the 
word ' v-bique.' 



FEANCIS BACON 
Here are the outside letters of the text: 



587 



c 



Ontradictioneslinguarumv 



b 

c 

t 

s 

d 

c 

a 

1 

n 

c 

t 

d 

n 

s 

e 

F 



N 



a 

q 

r 

s 
c 
o 
e 
r 
a 

m 
o 
a 
t 
i 

m 
S 



588 



SOME ACROSTIC SIGNATURES OF 



Signature 249. 

This acrostic also is found in the last of the ' Meditationes Sacrse.' 
Begin to read from the capital O, or cipher, which stands next to 
the ornamental letter; to tlie right; downwards; on all the letters of 
all the words; spelling backwards Onocab Ocsicnakf, i. e. Fran- 
cisco Bacono, you will arrive at the initial F of the word ' Finis.' 



The acrostic figure here is : — 



c 



o 

N 
O 

c 

A 
B 
O 
C 

s 
I 
c 

N 
A 
R 
FINIS. 



FRANCIS BACON^ 



589 



•CI *^ •^ 

a- ^ S S 

O vl ? *5 

^ *^ S fc 

>t: i? » S 



i 



« 5S a 5 tti 






n V 



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CO 

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fit 




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s 

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eg 

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S ^ § ^ 

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^ <<» ^ 



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<Vj V» S 

^ s i 
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590 SOME ACROSTIC SIGNATURES 

Signature 250. 

The last book in this Httle vokime of Essayes, etc., is that of 
* The Coulers of good and euill a fragment.' 

Note the phrase ' So deale with the E-,' on the last line of the first 
page, entitled ' A Table of Coulers, or.' (See p. 592.) In looking 
over the pages at the front and the end of this book for a sugges- 
tion which would guide me to an acrostic, this phrase at the foot 
of that page which is not numbered but which should be page 18 
[verso), ' So deale with the E-,' looked as if it might be a memoran- 
dum to refresh the writer's memory that he had cut off the capitals. 
J at once set out in the margin all the capitals used in the thirty-six 
pages. 

I then began to read from the capital F of the word ' Fmis ' at 
the end of the book and read had- through all the cajntals used in 
the hook ; spelling Francisco Bacono, I was not altogether sur- 
prised to find that the final O of the signature was the first O of the 
title-page to the book. 

The acrostic figure here is: — 

Of 
N 
O 
C 
A 
B 
O 
C 
S 
I 

• 

A 

R 

FINIS. 

Here we have a signature written in the simple method of which 
we have an analogous examjile by the monk Francesco Colonna, 
mentioned on page 89. 

Note that these capitals run through thirty-six pages. I must ask 
the reader's pardon for printing them all in facsimile. It is an im- 
portant example of the mental byplay of a genius. 




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FRA:N^CIS bacon 603 

Signature 251. 

This acrostic is found in '■A Translation of Certaine Psalmes,^ 
on the last page of the little book of seven Psalms made into English 
verse by Francis Bacon, and dedicated by him to Mr. George Her- 
bert. The book was pubhshed in 1625. The 'Dedication' runs: — 

To His Very Good Friend 
MR. GEORGE HERBERT. 

The pains that it pleased you to take about some of my writings 
I cannot forget ; which did put me in mind to dedicate to you this 
poor exercise of my sickness. Besides, it being my manner for 
dedications, to choose those that I hold most fit for the argument, I 
thought that in respect of divinity and poesy met, (whereof one is the 
matter, the other the style of this little writing,) I could not make 
better choice. So, with signification of my love and acknowledge- 
ment, I ever rest 

Your affectionate Friend, 

Fr. St, Alban. 

From this 'Dedication ' it seems as if Bacon had been put in mind 
to dedicate the verses to George Herbert after they were wi'itten. 
He speaks of the book as ' this poor exercise of my siclviiess,' but I 
should hesitate to infer that those woixls imply that the work was 
done during sickness. It is as possible that the verse was touched 
up and made I'eady for the printer at that time. We have no evidence 
either way. 

So far as we know, this is the only occasion on which Bacon pub- 
lished verse of any kind over his own name. 

It has been the custom of some critics, in the heat of controversy, 
to decry the poetical merit of these conventionally rimed religious 
verses. The worst that can be said of them is that they compare 
favourably with the similar attempts which we have from Milton. No 
one who has an ear for verbal beauty can have failed to catch what 
we may fairly call the Shakespeai-ean phrasing and cadence in some 
of the lines of these Psalms. This excellence is the more remarkable 
in view of the hackneyed subject, the difficulty of phrasing another 
man's thought, the presiimed sickness of the poet, and the conven- 
tional religious form. The worst of us are prone to assume that 
almost any part of Holy Writ is susceptible of poetic ti'catment — a 
foolish notion which seems to have been shared to some extent by 
Bacon himself. 

From these translations, from two other poems attributed to Bacon, 
and from Bacon's prose, Spedding had miich to justify his inference 
that Bacon had all the natural faculties of a poet: a fuie ear for 



604 SOME ACROSTIC SIGNATURES OF 

metre, a fine feeling for imaginative effect in words, and a vein of 
poetic passion. {Lord JBacon's Works, vol. vii, p. 267.) 

Let us now turn to the last Psalm in the book, where we may 
reasonably expect a signature. 

Begin to read from the cipher I I which begins the first line ; to 

the right; downwards; on all the letters of all the words, as if they 
are on a string; spelling backwards Onocab Ocsicnarf, you will 
arrive at the initial F of the word ' Finis,' i. e. the initial of the first 
(and only) word of the last line. 

The signature thus runs from the_^rs^ letter of the Ji7'st line to the 
first letter of the last line. 

O Sing a new Song, to our God above, 

N 

O 

c 

A 
B 
O 
C 

S 
I 

c 

A 
R 

FINIS 

The acrostic figure here is similar to that of the Walsingham 
specimen on pages 54-55, with the exception of the secrecy of its 
interior letters. 

We have Bacon's word for it that these translations were the 
exercise of a spell of sickness. As he was a prey to sickness now and 
again throughout his life, we do not know to what sickness he refers: 
presumably it was a recent attack (he was then about 64), but we 
do not know. I wish we did, for it is worth remark that the book 
contains sei^en Psalms, and that in the printer's j^reface to the Com- 
j)laints, published thirty-four years before the Psalms, mention is 
made of The Seven Psalms which the supposed author of the Com- 
plaints had then written. I draw no conclusions, but present the 
facts, which may be of interest hereafter. 

As I have been unable to see the first edition of this little book, 
I have fallen back on the third edition of the liesiiscitatio, pubhshed 
in 1671, which will serve our pui-pose. {Resuscitatio, pt. 2, p. 26.) 



FRANCIS BACON 605 



And flstfiou dldfi: by us, To do by thee. 

Yea happy he, that takes thy Childrens Bones, 
And dafheth them againft the Pavement Stones. 

The Tranflation of the i^p Pfalm. 

O Sing a new Song, to our God above, 
Avoid profane ones, 'tis for holy Quire r) 
Let Ifrael fing Songs of holy Love 
To him that made them , with their Hearts on fire : 
Let Sions Sons Jift up their voice, and fing 
Carols and Anthems to their Heavenly King, 

Let not your voice alone his praife forth tell. 
But move withal, and praife him in the Dance } 
Cymbals and Harps let them be tuned well, 
Tis he that doth the Poors eftate advance ; 
Do this not onely on the Solemn days. 
But on your fecret Beds your Spirits raife. 

O let the Saints bear in their Mouth his Praife, 
And a two edged Sword drawn in their Hand, 
Therewith for to revenge the former Days, 
Upon all Nations, that their Zeal withftand 5 
To bind their Kings in Chains of Iron ftrong. 
And manacle their Nobles for their wrong. 

ExpedJ: the time, for 'tis decreed in Heaven, 
Such Honour (hall unto his Saints be given. 



Fis^a^is. 



606 SOME ACROSTIC SIGNATURES OF 



CONCLUSION 

A HISTORICAL study of the life and work of Francis and Anthony 
Bacon in the light of these acrostics will entail the reproduction of 
many documents which are not so well known in this connexion as 
they may be in the future. I hope that it may be possible for me to 
complete and publish a volume of that nature which I have already 
begun. 

I wish that the present work be regarded merely as an entrance to 
a field which has hitherto been closed to most students. The reader 
will have seen that it extends over a period of about sixty years, and 
that it uncovers about two hundred and fifty signatures. I have no 
doubt that I have overlooked many signatures which will be seen by 
those who have the patience to follow my plough. Even while this 
volume was going through the press friends discovered several acros- 
tics which had escajjed my vigilance, in Venus and Adonis, Lucrece, 
Shakespeare's Sonnets. Furthermore it can hardly be hoped that so 
large a book, composed of so vanch technical matter, will be free from 
errors; but it is as correct as my own care and the generous help of 
friends could make it. 

It has been my desire throughout that each i-eader shall be allowed 
to draw his own inferences, and make his own intei'pretations, and I 
hope that I have been consistent in my plan merely to give the reader 
materials with which to woi"k, and a practical method of investiga- 
tion. 



FKANCIS BACON 607 



EPILOGUE 

Ipse certe (vt ingenue fatcar) soleo aestimare hoc 
Opus magis pro partu Temporis, quam Ingenij. Illud 
enim in eo solummodo mirabile est; Initia Rei, & tantas 
cle ijs quae inualuerunt Suspiciones, alicui in nientem 
venire potuisse. Caetera non illibenter sequuntur. 
Noimm Orgmmm. Eplslola Dedicatoria. 1620. 



FINIS. 



APPENDIX 



FURTHER REMARKS ON FALSE NAMES AND PEN-NAMES, AND 
ON THE SURVIVAL OF WORKS WHICH SEEM TO CONTAIN 
NO NAME' 

As has been said in the text (p. 16, note 2), so far as I am aware no competent 
investigator has ever undertaiien the task of studying systematically the 
immense catalogues of anonymous and pseudonymous writings, including both 
printed books and manuscripts. This task would be so enormous as to baffle 
all but those rare minds which are not dismayed at the very outset by the immens- 
ity of the field to be investigated, and by the endless difficulties necessarily 
involved in the research. Such a study could never be complete. To perform 
this task ideally well it would be necessary to ascertain what motives and other 
causes have led to the existence of anonymous and pseudonymous works during 
all the periods for which data exist. The conclusions given in this book were 
derived mainly from the consideration of well-known examples such as are to be 
found scattered through literary or political histories. 

My own reading, and conversations with well-read friends, have convinced me 
that very little is generally known about anonymous and pseudonymous litera- 
ture, notwithstanding its bulk and its importance. At the risk of repetition let 
us sum up a few important facts. The Iliad and the Odyssey are anonymous, 
though tradition attributes them to Homer. The desire to fasten these works 
upon some definite author led, even in ancient times, to the writing of bio- 
graphies which were widely believed till they were exploded by modern re- 
search. Until only a generation ago various familiar fables were unhesitatingly 
attributed to .^sop, whose life was definitely described in literary histories and 
other serious works. The author is hardly less shadowy than Homer. 

When Beoumlf and the Chanson de Roland were completed, each probably 
aroused for its supposed author some small part of the admiration that it won 
for itself. To some contemporaries, at least, the authors of these poems were 
probably known ; but who has chronicled their names? The chante-fable, 
Aucassin and Nicolete, and the farce, Maistre Pierre Pathelin, are ranked high 
among the masterpieces of the Middle Ages. Their authors also may once have 
been known, but where shall we find their names? So it is with all the other 
mediaeval French farces that have survived ; with nearly all the epics ; with most 
of the fabliaux; with the Cent Nouvelles Nouvelles, and other collections of tales ; 

1 Written in collaboration with Mr. R. T. Holbrook. 



612 APPENDIX 

with the Roman de Renard; with a large number of chansons,^ and other forms 
of artistic and i)opular poetry. The older English drama is almost wholly 
anonymous; so, too, is a large part of the Elizabethan drama. We are equally 
in the dark as to the authors of the English and Scottish Popular Ballads, and 
many titles might be added to the list.- But many other mcdiirval works have 
come down to us under a pseudonym, or under the name of some one generally 
(often erroneously) supposed to be the author. For mediaeval pseudonymity 
two striking examples may suffice : the series of 232 sonnets, known as // Fiore, 
is ascribed to Dante (1265-1321) by Francesco D'Ovidio and other scholars (see 
Ahtovi Studi Danteschi. Sepossa' 11 Fiore' esseredi Dante. Naples, 1907). These 
sonnets are in fact signed structurally with the name ' Durante,' which may be the 
poet's genuine name, though it is possibly only a fanciful appellation, or a sug- 
gestive pseudonym. 'The simple faith of our childhootl in a Sir John Mandeville, 
really born at St. Albans, who travelled, and told in an English book what 
he saw and heard, is shattered to pieces. We now know that our Mandeville is 
a compilation, as clever and as artistic as Mallory's Morte d' Arthur, from the 
works of earlier writers, with few, if any, touches added from personal experi- 
ence; that it was written in French, antl rendered into Latin before it attracted 
the notice of a series of English translators (whose own accounts of the work 
they were translating are not to be trusted), and that the name of Sir John 
Mandeville was a nom de guerre borrowed from a real knight of this name who 
lived in the reign of Edward II. Beyond this it is difficult to unravel the knot, 
despite the ends which lie temptingly loose. A Liege chronicler, Jean d'Outre- 
meuse, tells a story of a certain Jean de Bourgogne revealing on his deathbed 
that his real name was Sir John Mandeville ; and in accordance with this story 
there is authentic record of a funeral inscription to a Sir John Mandeville in a 
church at Liege. Jean de Bourgogne had written other books and had been in 
England, which he had left in 1322 (the j'ear in which "Mandeville" began his 
travels), being then implicated in killing a nobleman, just as the real Sir John 
Mandeville had been implicated ten years before in the death of the Earl of 
Cornwall. We think for a moment that we have an explanation of the whole 
mystery in imagining that Jean de Bourgogne (he was also called Jean a la Barbe, 
Joannes Barbatus) had chosen to father his compilation on Mandeville, and 
eventually merged his own identity in that of his pseudonym. But Jean d'Outre- 
meuse, the recipient of his deathbed confidence, is a tricky witness, who may 
have had a hand in the authorship himself, and there is no clear story as yet 
forthcoming. But the book remains, and is none the less delightful for the 
mystery which attaches to it . . . ' (Quoted from. A. W. Pollard, TZ/e Tro re/so/ 
Sir John Mandeville. 'Bibliographical Note.') He who reads thoughtfully will 
not fail to catch the venom of the argument. 

MediiEval sculpture, architecture, and painting manifest similar tendencies. 

'. See Gaston Paris, Lilte'rature fratnaise aumoyen age: Joseph Bedier, Le!t le'cjendes e'piques, 
and Les Fabliaux ; Holbrook, The Farce of Master Pierre Palelin, ' Introduction.' 
' See E. K. Chambers, The Medieval Stage. F. B. Gutnmere, The Popular Ballad. 



APPEOT)IX 613 

Nearly all the great buildings of the Middle Ages are anonymous, though some of 
them are ascribed to architects of whom little or nothing is known. Dante, the 
chronicler Giovanni \'i]lani (d. 1348), Petrarch (1304-1374), Antonio Pucci 
(about 1310-1390), and Boccaccio (1313-1375), with his legendary account, to 
which we may add two or three of the earliest Dante commentators, are, so 
far as we know, with the exception of the anonymous writers of tliree or four 
archives, the only contemporaries of Giotto (1266?-1337) who have recorded his 
name, and the critics are still speculating as to what are his authentic works. 

More recent times afford names in an overwhelming plenty. Francois Marie 
Arouet le jeune (AROUET. L. J.) may possibly have been indulging in a whim 
when he changed this name into the anagram 'Voltaire.' This world-famous 
writer, as is well known, published a large number of writings under this pseu- 
donym, which, later, when he had felt his power, became the only name by 
which he was universally known. Before him, Frangois Rabelais (1490?-1560) 
had devised for himself the anagram Alcofribas Nasier, under which he published 
Pantagruel and other works. How many readers have forgotten that Villon's 
real name was Frangois de Montcorbier? Jean Baptiste Poquelin chose to call 
himself Moliere, though apparently with no intent to mislead any one as to his 
identity. However, many actors and some playwrights have had other reasons 
for choosing the names under which they have appeared in public. 

Defoe is almost too well known to be cited. Dean Swift has been shown to 
have made political attacks under a pseudonym the secrecy of which was well 
maintained. Milton before him had pursued similar tactics as a pamphleteer: 
furthermore, a part of the first edition of his greatest poem (1667) bore this title. 
Paradise Lost, a Poem in Ten Books, the author J. M. The 1637 edition of 
A Maske (Comus) contains this statement in the dedication signed by his friend 
Henry Lawes, ' Although not openly acknowledg'd by the Author, yet it [this 
poem] is an off-spring, so lovely, and so much desired, that the often Copying of 
it hath tir'd my pen to give my severall friends satisfaction, and brought me to a 
necessity of producing it to the publike view . . .' (seep. 24, swpra, withnote2). 

In other times, and for other reasons, masking names were used by Pietro 
Aretino, Erasmus, Theodor Beza (the correspondent of Bacon's learned mother), 
Sir Philip Sidney, and Isaac Casaubon. Spinoza was bom with the name Baruch, 
but few of us remember it. 

Who to-day can tell us who Junius was? In spite of the strenuous efforts of the 
Government to ascertain the identity of this author, and of the researches of 
many modern writers, the facts are still unknown. But Junius was merely the 
most prominent of many pamphleteers who wrote in that time anonymously 
or under pseudonyms. Most journalism has been carried on anonymously or 
pseudonymously. 

William Prideaux Courtney (see p. 16, note 3) has about fifteen hundred entries 
of anonymous and pseudonymous works and authors. Most of the publications 
mentioned by him were issued during the past one hundred and fifty years ; he 
tells us that even so many were necessarily a mere selection from a much greater 



614 APPENDIX 



number. Newman, Manning, Matthew Arnold, as Mr. Courtney shows, as well 
as Lamb, Godwin, and Tennyson, all had reasons for pulling the wool over the 
eyes of their contemporaries. An idea of the possible number of books issued 
in one language, under a false name, a pen-name, nom de guerre, or under no 
name at all, may be gained from a perusal of the Deutsches Pseudonymen-Lexi- 
kon and from the statement in Mr. Courtney's book, that the Deutsches Anony- 
men-Lexikon will contain over fifty thousand entries. This national work is 
being compiled by Messrs. Holzmann and Bohatta, who will bring it down to the 
year 1850, in four volumes. The latest edition of Wer ist's ? is said to contain 
no less than three thousand pseudonyms. 



I 



11^ 

THE USE OF ACROSTICS IN ANCIENT TIMES 

In the historical introduction to this book the use of acrostics in ancient times has 
barely been touched upon, and indeed there was no reason to deal at length with 
the vogue they had in remote antiquity, in the early Christian period, nor even 
in the Middle Ages and the Renaissance. This book is what its title indicates, 
and the ' Specimens ' given in Pari I have no other aim than to familiarise the 
reader with illustrative facts. Whoever wishes to pursue this subject further 
may begin with a careful and richly documented article on acrostics in Greek and 
Latin literature, to be found in Paidy's Real-Encydopddie der Classischen Alter- 
tumsu'issenschaft. . . . Neue Bearbeilung. . . . Herausgegebcn von Georg Wis- 
sowa. (See vol. i, s. v. Akrostichis, cols. 1200-1207. Stuttgart, 1893.) The author 
of this article (Graf) emphasises the importance of acrostics in determining the 
true authorship of works, the names of persons to whom they may be addressed, 
etc. His scholarship has made it unnecessary for me to amplify my sketch, in 
so far as it deals with the use of acrostics in ancient times. In an article entitled, 
and well entitled, 'The acrostic as a critical aid' ('Das akrostichon als kritisches 
hilfsmittel'), Zeitschrift fur deulsche Philologie, vol. 30, pp. 212-244 (anno 1900), 
Mr. Arthur Kopp gives further evidence that the composing of acrostics is not an 
isolated phenomenon, but a common fact in European literature. The many 
e.xamples that he cites from the still greater number that he knows of, or whose 
presence he suspects, are all German, and nearly all are of a commonplace sort ; 
but his mind was open to the light, and his observations reach far beyond the 
boundaries of Germany. The fallacy of judging an old custom insignificant, 
because ive happen to think it silly, is properly laid bare by Mr. Kopp. I gladly 
and gratefully add some of his enlightening remarks to what has been said else- 
where in this book. He says : 'The slight esteem in which acrostics are held is not 
purely modern. Even in the pre-classic period [i. e. for Germany, before 1750], 
they had only a sporadic vogue. Johann Christian Gucnther [1695-1723] liked 
acrostics, especially in his earlier years, and not a few of his poems bear witness 
thereto. The investigations devoted to Guenther have afforded striking examples to 
shoiu how useful acrostics may be scientifically, howerer much they may be despised 
as an aid to art. [The italics are mine.] How many rambling, false surmises 
with regard to Leonore [Altera Torquatum cepit Leonora poetam !] would con- 
tinue to be started if the poem "My trust is firmly founded on two pillars that do 
not totter," with the name "Magdalena Eleonora Jachmannin" in the initials 

' I owe the matter in this appendix to the generosity of Mr. R. T. Holbrook. 



616 APPENDIX 

of the lines (Poem, p. 70) were not at hand !' — and here follows another good 
example of biographical import. 

We have already seen that the acrostics presumably used by Francis Bacon 
and the men who knew his method not only require far less time to make than 
the commonplace sort used by Guenther, but that the Baconian acrostic is so 
well hidden as to have escaped discovery for more than three centuries. 

Mr. Kopp goes on as follows : ' Incidentally these examples from Guenther prove 
besides that a poem, through being an acrostic, is not necessarily bad on that 
account, nor need it pursue a forced train of thought in affected phrases. The 
very poems above mentioned, in acrostic, have regularly, though no one re- 
cognised the presence of acrostics, been counted among the finest productions 
of Guenther's Muse. 

'InGuenther's period there was, in general, no great inclination to this play: 
the young poet stood alone in this respect [an assumption : his contemporaries 
may have successfully hidden their acrostics]; there was, however, a time in 
German poetry when the acrostic may be said to have grown luxuriantly over 
everything; particularly in the half-century from 1575 to 1625.' [These years, it 
will be noticed, cover the Elizabethan period and the active days of Bacon's 
life.] 'To be sure, what predominated was the freer form, according to which 
names were built for the most part with the initial letters of stanzas, on which 
account it was unnecessary to begin every verse with a definite letter. Oftenest, 
as one might expect, it is feminine baptismal names that are eternalised in the 
acrostics in honour of various sweethearts; less frequently, with the addition of 
family names. Occasionally, however, the author has woven his own name in as 
well. The poems in which the name of the poet can be deciphered can be turned 
to good account in various ways for literary history ; all acrostics, however, are 
of great importance to text criticism . . .' Though Mr. Kopp says 'all acrostics,' 
the reason he gives applies in the main only to the most commonplace forms of 
acrostics. It appears that in Nuremberg, a city devoted to the highest art as well 
as to artistic fads, the making of acrostics had a special vogue. Even Hans Sachs 
followed the fashion in his later days, and put acrostics into some of his best 
poems ; but naively provided his readers with all necessary clues. If no great 
poets, save possibly Hans Sachs, practised this art in Germany during the period 
of Queen Elizabeth, the reason may be that Germany's great poets had not yet 
been born. 

Mr. Kopp's final paragraph is so significant (one might almost say, prophetic) 
that I will quote it all : ' The aim of these lines was to prove, by a fairly good 
number of examples, how acrostics may be employed to discover new facts, not 
only in literary history, but in textual criticism [and, as his own article shows, 
in biography]. If the yield here was not to be despised, there need be no doubt that 
further fine fruits are only waiting to be plucked by the sagacious scholar in this 
field. Let us hope, therefore, that investigators, even though acrostic poems are 
distasteful to them, will nevertheless pay them more heed than they may have 
thought needful hitherto.' 



Ill 



THE SPELLING OF FRANCIS BACON'S NAMES AND TITLES 

The following list shows the forms under which the name of Francis Bacon 
appeared during his lifetime, or in his authorised works issued after his death: — 



1. S"' ffrancis Bacon Kn*. 

2. M' frauncis. 

3. M"' ffrauncis Bacon. 

4. M^ ffr Bacon. 

5. ffran Bacon. 

6. B. Fra. 

7. Mr. Frauncis Bacon. 

8.' Fra. Bacon. 
9. F. B. • 

10. Francis Bacon. 

11. Franc. Bacon. 

12. F. Bacon. 

13. Fr. V. 

14. Fr. Verulam. Cane. 

15. Fr. Bacon. 

16. Fr. St. Alban, Can. 

17. Fr. St. A. 

18. S. Albans. 

19. Fra. Baconus. 

20. D^ Franciscus Bacon. 

21. S"' Frauncis Bacon. Knight. 



Essays. Harleian MS. 5106. 
Northumberland MS. Burgoyne's edi- 
tion. 

do. 

do. 
Letter to Tobie Matthew, beginning 
'Doe not think me forgetful.' 
Letter to Burghley, 1580-1584. Sped- 
ding, vol. viii, p. 13. 
In a list of New- Year's gifts given to the 
Queen at Richmond in 1599-1600. 
Spedding, vol. ix, p. 163. 
Letter to the King, 1612. Spedding, 
vol. xi, p. 305. 

Letter to the King, 1612. Spedding, 
vol. xi, p. 280. 

Opinion, etc., 1613. Spedding, vol. xi, 
p. 388. 

Decree on the Prai-munire Question, 
1616. Spedding, vol. xii, p. 394. 
Letter to Anthony Bacon, 1596. Sped- 
ding, vol. ix, p. 37. 

Letter to Buckingham, 1619. Sped- 
ding, vol. xiv, p. 50. 
Letter to Buckingham, 1619. Sped- 
ding, vol. xiv, p. 51. 
Certificate touching the wools of Ire- 
land, 1616. Spedding, vol. xiii, p. 3. 
Letter to the King of Denmark, 1620. 
Spedding, vol. xiv, p. 166. 
Letter to Buckingham, 1621. Sped- 
ding, vol. xiv, p. 317. 
Letter to Father Baranzan, 1622. 
Spedding, vol. xiv, p. 377. 
Epist. Dedicatoria, De Sapientia Ve- 
terum^, 1638. 

Border on portrait by Simon Pass. 
Spedding, vol. i, p. xv. 
Inscription under portrait by Simon 
Pass. Spedding, vol. i, p. xv. 



618 APPENDIX 

22. Sir Fran. Bacon. Ai-guments against the Bill of Sheets, 

1605-6. Spedding, vol. x, p. 285. 

23. Franciscus Verulam. Novum Organum, 1620. Epist. Dedica- 

toria. 

24. Franciscus de Verulaniio. N ovuyn Organum, IQ20. 'Siccogitavit.' 

25. Franciscus Baronis de Verulamio. De Augmentis Scientiarum, 1623. 

26. P>an. Bacon. Essayes, 1597. 

27. Francis Lord Verulam, Viscount 

St. Alban. Sylva Sylvarum, 1627. 

28. Francis Lo. Verulam, Viscount St. 

Alban. Apothegms, 1625. 

30. Franciscus Baconus. Opera, 1638. 

31 . Francis Baron Verulam of Verulam. Patent. 

32. Francisco Bacono. The form in which many of the acrostics are found. 

I have hypothetically treated this last form as the ablative case in Latin, but 
there is reason to suppose that it, as well as' Antonio Bacono,' was an Italianate 
form used as a pet name, or as a playful nickname. Compare the use by William 
Shakespeare of ' Francisco' and 'Barnardo,' the two Danes in Hamlet. Compare 
also the form 'Reynardo,' and the name 'Giovanni Cooperario,' of a man whom 
his wife probably knew as plain John Cooj^er. Compare also the following title, 
Opus illustre in lelicem memoriam Elizabethae, Angliae Reginae, audore nobilis- 
simo heroe Francisco Bacono, Barone de Verulamio, Vicecomite Sancti Albani: etc. 
(Opuscula Philosophica, edited by William Rawley, and printed in 1658). 

'On the 12th of July, 1618, Bacon was created Baron Verulam of Verulam. 
Whether this justifies us in styling him "Baron of Verulam" (as has been com- 
monly done for the last two hundred years wherever his titles are enumerated) 
is a disputable question, but not one in which his own reputation is interested. 
He never used that addition himself, but styled himself, if writing English, 
"Francis Lord Verulam" ; if writing Latin, "Franciscus de Verulamio" ; and it 
was doubtless as Verulam, or Lord Verulam, that he expected the next ages to 
know him and speak of him. I think everybody who has been concerned with 
him as editor or biographer must agree with me in regretting that the next ages 
did not take the hint. Being invited to call him by a name as handsome in sound 
and associations as any that England could have furnished, they have fixed upon 
him one of the ugliest and most vulgar ; a name associated chiefly with the poorest 
kind of joke (and quite as much so since he bore it as before), and so common- 
place, that in order to make it serve the purpose of distinguishing him from the 
rest of his surname at all, they have been obliged to invest it with a title to which 
it never had any pretence.' (Spedding, vol. xiii, pp. 316-317.) Spedding's other 
remarks on the same pages are worth reading. Bacon is certainly not a poetic 
name. 

'On Saturday,' says Chamberlain, writing on the third of February (1621), 
'the Lord Chancellor was created Viscount St. Alban's, with all the ceremonies 
of robes and coronet, whereas the rest were only done by patent.' Bacon ends 
the second paragraph of his letter to the King, expressing his grateful sense of 



APPENDIX 619 

obligation, with these words: 'And so I may without superstition be buried 
in St. Alban's habit or vestment.' (Spedding, vol. xiv, pp. 167-168.) 

Here it seems worth while to quote the first verses (by an anon}'nnous author) 
printed by William Rawley in the Manes Verulamiani: — 

Deploratio Obitus omnia doctissimi et clarissimi 
Viri D. Francisci Bacon S. Albanensis. 

Albani plorate lares, tuque optime martyr, 
Fata Verulamii non temeranda senis. 
Optime martyr et ui veteres i tu quoque luctus, 
Cui nil post dkum tristius amphibalum. 

These lines are rendered by Professor E. K. Rand, of Harvard University, in 
a privately printed translation of the Manes Verulamiani (Boston, 1904), as 
follows : — 

' Mourn, ye Alban Lares, and thou good Martyr, the hallowed demise of the old 
man of Verulam. Aye, good Martyr, raise thou too the old lament, to whom 
nothing has been sadder, next to thy dire cloak.' 

The translator adds a note to say that 'Alban exchanged his cloak with that 
of a fugitive Christian, who thus escaped his pursuers, whereas Alban was mar- 
tyred by them. The story is told by Gildas and Bede. See Baring Gould, Lives 
of the Saints,' where he says (June 22, pp. 294-299) : 'Saint Alban, a pagan, re- 
ceived into his house a Christian priest during the persecution of Diocletian, and 
was so struck by the devotion to God, and blameless life of the man whom he pro- 
tected, that he placed himself under instruction and became a Christian. A 
rumour having reached the Governor of Verulam, that the priest was hiding in 
the house of Alban, he sent soldiers to search it. Alban, seeing them arrive, 
hastily cast the long cloak of the priest over his head and shoulders, and pre- 
sented himself to the soldiers as the man whom they sought.' He was immedi- 
ately bound and brought before the Governor. It fell out that the Governor 
was then standing at the altar and was offering sacrifice, ^¥llen the cloak was 
removed, which had concealed the face of Alban, and he perceived that the man 
was not the priest he had ordered to be arrested, his anger flamed hot, and he 
ordered Alban immediately to sacrifice or to suffer death.' 

S. Alban steadfastly refused to offer to idols. Then the magistrate asked, 'Of 
what family and race are you? ' ' How can it concern thee to know of what stock 
I am?' answered Alban. ' If thou desirest to know what is my religion, I will tell 
thee — I am a Christian, and am bound by Christian obligations,' etc. 

• The priest, whose name Bede does not give, was afterwards supplied by the fabricator of 
the spurious Acts ^Acts of S. Alban, supposed to have been forged by William of S. Alban's 
in the twelfth century] with the name of Amphibalus, from the cloak which he wore, Amphi- 
balus being Greek for a cloak. Bede says that the priest did not suffer then, ' his time of 
martyrdom had not yet come.' The forger gave him an absurd name, and invented the acts 
of his martyrdom. Under the name of Amphibalus this priest figures in some martyrologies 
on June 22 with S. Alban, or alone on June 25. 



IV 

BOOKS ON CIPHERING AND DECIPHERING 

I ADD this Appendix because books on tliese subjects are little kno^Ti. I am 
inclined to suspect that they are understood least by those who talk and write 
most glibly about the results of their use by others. It is much to be regretted 
that even a slight knowledge of the arts of ciphering and deciphering has not 
been hitherto deemed necessary to the student of the literature in which they 
may often play so important a part. 

It is a common error to suppose that the most recondite ciphers are the most 
difficult to decipher, and that a cipherer will use methods mechanically difficult 
in proportion to his desire for secrecy. The more commonplace the j^age of type 
or manuscript containing the cipher, and the more the cipherer makes use of 
the everyday methods of the printer or the scribe, the more chance has he 
of escaping notice, if that be his purpose. 

In his article on Cryptography, Poe has correctly said that ability in these arts 
is proportioned to analytic power, and that in the case of two persons of acknow- 
ledged equality as regards ordinary mental efforts, it will be found that, while 
one cannot unriddle the commonest cipher, the other will scarcely be puzzled by 
the most abstruse. The mere literary man is prone to regard such problems as 
convincing in proportion to his ability to comprehend them, and it is to be 
regretted again that a literary training should have come to connote (as a rule) 
an ignorance of mathematics. 

The writers whose inventions or collections of ciphers are most likely to have 
been used by public officials of the sixteenth and early seventeenth centuries 
were Trithemius (1500), Vigenere (1587), Porta (1563), Selenus (1624). A very 
complete bibliography of these and other writers, and their later editions, is to be 
found in Joh. Ludw. Klueber's Kryptographik. Lehrbnch der Geheimschreibekunst 
(Chiffrir- imd Dechiffrirkunst) in Staats- nnd Privatgeschdften. (Tuebingen, 1809.) 
This is the best general account of the art that I have seen. 

There are articles in the encyclopaedias, but they are necessarily secondary as 
sources of information. Blair's article in Reess Encydopoedia is the ablest that I 
have seen in English. There are also later books by Frenchmen, and others, but 
for our purpose I suspect that the early collections will prove the most useful. 
The chief object in consulting them in connexion with acrostics is to gain an 
insight into the possible habits of the minds of men who used ciphers in their 
daily work. 



INDEX 



INDEX 



A. B., initials, 223. 

A despised study, 27. 

A senights slumber, 234. 

Abecedarian Psalms, 40. 

Academic censure, 27. 

Academic leaders caught napping, 65. 

Academy of the Humourists, 87. 

Acrostics, 19, 20; 40 ; the use of, in ancient 
times, 615. 

Adelphi, The, 19. 

Ad Monachos St. Galli, 85. 

Advancement of Learning, The, 11, 19. 

iEsop, 611. 

Akrostichon, Das, als kritisches hilfsmittel 
(Kopp), 615. 

Alban, the martyr, 615. 

Alcofribas Nasier, 613. 

All's Well that Ends Well. 388, 389; fac- 
simile, first page, 390; facsimile, second 
page, 391 ; 392; 393 ; facsimiles (pp. 251, 252) , 
394, 395. 

Alphabet, 10, 11. 

Altars, 87. 

Amanuenses, 24. 

Ameto, SI. 

Ambassadors, 2. 

Amphibalum, 619. 

Amphibalus, 619. 

Anagrams, 2, 3. 

Analogous forms, 87. 

Analytical faculty, 2. 

Andrewes Lancelot, 23. 

Anne of Britaine, 32. 

Anonymes, Dictionnaire des outrages, 16. 

Anonymity, 14, 15, 16, 24, 611. 

Anthony and Cleopatra, 512 ; facsimile, last page, 
513 

ApoUinaris, Sidonius, 88. 

Arensberg, Walter, 136. 

Aretino, Pietro, 613. 

Argus-eyes, 21. 

Arnold, M., 614. 

Arouet le jeune, F. M., 613. 

Arte of English Poesie, The, 3, 5 ; author of, 30 ; 
office of tlie poet, 30 ; title-page, facsimile, 94 ; 
frontispiece, 95; Partheniades, 96, 97, 98; 
facsimile Dedication, 99, 100; poems in the, 



101, 102, 103, 104, 105; Conclusion, 106, 107, 
108, 109, 110; facsimile. Conclusion, 111, 112; 
authorship of, 120. 

Arts, private and retired, 1 1 . 

Arundel, 126. 

As you like it, 381, 382 ; facsimile, last page, 383. 

Astrology, 2. 

Astronomers, 30. 

AthenaBUS, 87. 

Aucassin and Nicolete, 611. 

B. I., initials, 290. 

Bacon, Anthony, 1, 6, 7, 24, 27, 176, 223; his wit, 
360; his name used in acrostics, 162; 163; 
176; 204; 224; 225; 3.54; 360; 502; 578; 580. 

Bacon, Francis, 1,9, 10; improved the worli of 
others, 120; collected MSS., 120; references 
to poetry, 120; Camden's MSS., 122; takes 
up all, makes each man's wit his own, 571 ; 
buys the reversion of old plays, 571; "from 
my Tub," 574; Prince of Purpoole, 574; 
marriage, 574; spelling of his names and 
titles, 617; Spedding's opinion of his poetic 
faculty, 603. 

Bacon's Nova Resuscitatio, 227. 

Baconiana, 23. 

Bacono, Antonio, 60, 618. 

Bacono, Francisco, 60; 618. 

Ballads, popular, 612. 

Barbatus, Joannes, 612. 

Barbe, Jean a la, 612. 

Barbier, Ant. Alex., 16. 

Barlowe, 121. 

Barnardo, 490; 546; 618. 

Barnfield, Richard, 15; 550; 578; Poems in 
divers humours, 578; An Ode, 578, 579, 580; 
reprint, 581. 

Baroni, Leonora, 1, 557; 565; Muzio, 557. 

Baruch (Spinoza), 613. 

Basile, Adriana, 557. 

B&lier, Joseph, 612. 

Befogged minds, 59. 

Begley, Walter, 82; 121-3; 223; 554; 566; 574. 

Beliefs, literary and historical, 59. 

Beowulf, 611. 

Beza, Theodor, 613. 

Biliteral Cipher, 6, 21. 



624 



INDEX 



Biographers, the eluding of, 16. 

Blackbourne, 23; 466. 

Blair, Wm., 47, 52, 620. 

Boccaccio, 53, 81, 613. 

Bodenham, John, 223-227. 

Bourgogne, Jean de, 612. 

Brandon, Mary, 82. 

Brave advice to poets, 34. 

Brazil, 9. 

British Admiralty's computation, 52. 

Buckingham, 11. 

Buildings of Middle Ages, 613. 

Burleigh, 6. 

Burghley, 6. 

Burton, Francis, 227. 

Cabalistic mysticism, 2. 
Cambridge, R. O., 88. 
Camden's Annates, 122; Remaines, 120-2. 
Canticum canticorum, 234. 
Captain's stratagematique, 32. 
Cards, a game of, 23. 
Carew, Richard, MS., 121, 122. 
Carleton, letter to Chamberlaine, 574. 
Catullus, 5. 
Casaubon, Isaac, 613. 
Cecil, Robert, 6, 7. 
Censor, 5. 

Cent Nouvelles Nouvelles, 611. 
Chambers, E. K., 612. 
Chance, 20, 35, 52. 
Chanson de Roland, 611. 
Chapman, 122, ISO. 

Character of a believing Christian, The, 18. 
Charlatans, 6. 
Charles VIII, 32. 
Chartier, Allaine, 32. 
Chemistry, 2. 
Chester, Robert, 180. 
Chim.Tras, 32. 

Chinese metliod of writing, 47. 
Christ, of Cynewulf, The, 84. 
Chronograms, 88. 
Church, R. W., 26. 
Cicero, 39, 47. 
Cipher, biliteral, 6. 

Cipher codes, 2, 12; danger of possessing, 8, 11. 
Ciphers, the users of, 6. 
Ciphering, books on, 620. 
Clarendon Press, 124; 290. 
Claricio Girolamo, 81. 
Colonna, Francesco, 65; 89. 
Colours of Good and Evil, 582. 
Comedie of Errors, specimen, 50; 51 ; 356; 357; 
facsimile, first page, 358; facsimile, second 



page, 359; 360; 361; facsimile, last page, 

362. 
Commorientes, 19. 
Complaints, 231-241 ; title-page, 232 ; preface, 

233, 234. 
Complimentary verse, 3. 
Composition, interference with, 20. 
Camus (A maske), 613. 
Concealed poet, 20. 
Concealment of identity, 16. 
Conceits, 5. 

Confederates, Princes', 10. > 
Confidential servants, 35. 
Confusing the public, 21. 
Constable, 23. 

Conventional use of false names, 34. 
Cook, Albert S., 84. 
Cooperario, Giovanni, 618. 
Coriolanus, 464; facsimile, first page, 465, 466; 

facsimile, last page, 467. 
Coryat, Tom, 76. 
Costermonger times, 39. 
Cotgrave, 41. 

Cotton, Camden, and Bacon, 122. 
Cotton MSS., 43, 113. 
Councillor of deep discourse, 32. 
Couriers, 9. 

Courtly literary tricks, 2. 
Courtney, William Prideaux, 16; 613. 
Credulous persons, 6. 
Crestien de Troyes, 86. 
Cross-examiner, functions of, 65. 
Cryptography, books on, 2; 620. 
Cryptomcnytices, 7 ; 62. 
Cunning artificer, 32. 
Curiosities of Literature, 88. 
Cymbeline ; from The Tempest, acrostic running 

through the whole folio, 522-3. 
Cymbeline, 514, 515, 516; facsimile (p. 389). 

517, 518, 519, 520; facsimile, last page, 521. 
Cynewulf, 84. 
Cynick's Helmet, the, 574. 

Dante, 81, 612, 613. 

Daphnaida, 231, 264, 265; title-page (1591), 
266; first page (1591), 267; last three stanzas 
(1591), 268, 269; Folio (1611), 270, 271, 272, 
273. 

Davies, John, 2, 20. 

De Augmentis Seientiarum, viii, 9, 12, 13; re- 
ferences to poetry and drama, 120. 

De Divinatione, 39. 

D'Ewes, Sir Symonds, 82. 

De Furtivis Literarum Notis Vulgo, 7. 

De Haan, F., 87. 



INDEX 



625 



De Sapientia Veterum, 270. 

Decipherers, 6. 

Deciphering, 1 1 ; books on, 620. 

Dedication, moral (customary), 19. 

Definiteness of the method, 52. 

Defoe, D., 613. 

Design, evidence of, 35. 

Despatches, 2, 9. 

Deutsches Anonymen-Lexikon, 614. 

Devices, literary, 2, 4. 

Devises, Thomas Howell's, 3. 

Dictionary of the Anonymous and Pseitdonym- 
ous Literature of Great Britain, 16. 

Dictionnaire Universel, 40. 

Digges, L., To the Memorie, etc., 326-9; fac- 
simile, 329. 

Dignity, and authorship, 23. 

Discouragement of Poesie, 33. 

Discredit of any good Art among gentlemen, 34. 

Discredit of learning among gentlemen, 34. 

Discreet Poet, the, his reward, 33. 

Disorderly love, 82. 

Disraeli, Isaac, 88. 

Divina Commedia, 81. 

Double acrostics, 53. 

Doubles, 11. 

' Doubtful ' plays, 183. 

D'Ovidio Francesco, 612. 

Droeshout, 290-301 ; facsimile, 297. 

Duport, James, 24. 

Durante, 612. 

Ecclesiastes, 234. 

Ecloga de Calvis, 87. 

E. K.'s Epistle, to Gabriel Harvey, 245, 246. 

Elizabeth, her parsimony, 33; Arte of Eng- 
lish Poesie, 30. 

Encomion of Lady Pecunia, The, 15, 174. 

Encyclopcedia Britannica, 40. 

England's Helicon, 43, 223, 226. 

English Drama, the older, 612. 

Englishmen, travelling, 7. 

Epics, mediaeval, etc., 611. 

Epigrams, caustic moral, 38. 

Erasmus, 613. 

Essays (1597), 27 ; 270; dedication, 28-9 ; 582-4 ; 
facsimiles, 3 pp., 585; 586-8 ; facsimiles, 2 pp. 
589; 590; facsimiles, 36 pp., 591-602. 

Essex, 6, 7, 8, 126. 

Etymological Dictionary of the English Lan- 
guage, An, 41. 

Euphantasiote, 32. 

Evangelienbuch, 85. 

'Exarare,' Cicero's use of, 47. 

'Explicit liber,' 14, 15. 



F. B., initials, 228, 229. 

Fabliaux, 611; Bedier, 612. 

Facsimiles, reproduction of, 93. 

False names, conventional use of, 34; 611. 

flrancis, 41. 

ffrancisco, 192. 

ffrauneis, 41. 

Field, Richard, 30. 

First editions, 43. 

'First heire of my invention,' 126-7. 

Foerster, Wendelin, 86. 

Forgeries, 6. 

Fowre Hymnes (1596), title-page, 274; 276. 

Farces, mediaval French, 611. 

Frame, 10, 11. 

France, College de, vi. 

Francesco, 60. 

Francis, 41. 

Francisco, 60, 618. 

Frauncis, 41. 

Freeman, Thomas, 20. 

Fright, of authors, 34. 

Fuggers, the, 12. 

Fulgentius, 87. 

Gaspary, Adolf, 81. 

Geheimschrift, 14. 

Gentry and Nobility, and laudable sciences, 

34. 
Geschichte der Italienische Literatur, 81. 
Gifanius, 8. 
Gildas and Bede, 619. 
Ginn & Company, 84. 
Giotto, 613. 
Glass, or Mirror, 32. 
Godwin, 614. 
Gorges, Sir Arthur, 270. 
Gould, Baring, 619. 
Graf, A., 520; 615. 
Grant Testament, Le, 56. 
'Graphic' figures, 45. 

'Graphic' example of the Bacon method, 49. 
Grayes Inne, 214; Revels, 574; in manor of 

Pirpoole in Holborne, 574. 
Green, J. R., 3. 
Greenwood, G. G., 65. 
Greg, W. W., 6; 21; 27; water marks, 524. 
Grenville collection, 5. 
Greville, Fulke, 24. 
Grober, Gustav, 14. 

Grundriss der Romanischen Philologie, 14. 
Gruter, Isaac, 211. 
Guenther, J. C, 615. 
Guigemar, 86. 
Gummere, F. B., 612. 



626 



INDEX 



H, the aspirate, 3; 447. 

Haan, F. de, 87. 

Halkett and Laing, 16. 

Hall, Joseph, 38; 550; 574-5; facsimiles, 576; 
577. 

HalHwell-PhilHps, 290. 

Hamlet, 488-490; facsimile, first page, 491 ; 492; 
facsimile, last page, 493; 494; facsimile (p. 
154), 495; 496; facsimile (p. 258), 497; 
Quartos, 542-4; facsimile (1603), 545; fac- 
simile (1604), 547. 

HammoQ, Thos., 214. 

Handy-Book of Literary Curiosities, 88. 

Harvey, Gabriel, 82, 87 ; E. K.'s epistle to, 231 ; 
242 ; 245. 

Haslewood, 43, 113, 120. 

Hearts, 87. 

Heaulon Timoroumenos, 19. 

Hedge-poets, 24. 

Hedrich, Franz, 70. 

Heire, ' first heire of my invention,' 126, 127. 

Heminge and Condell ; Dedication to Pembroke, 
etc., 302-313; facsimiles, 1623, 312, 313; To 
the great Variety of Readers, 314; facsimile, 
321. 

Henry IV. Pt. I, 406, 407; facsimile, first page, 
408; facsimile, second page, 409. 

Henry IV. Pt. 11,410; facsimile, first page, 411 ; 
facsimile (p. 91), 413; 414; facsimile (p. 92), 
415; Epilogue, 416-418; facsimile, 419. 

Henry V. The Actors Names, 420; facsimile, 
421 ; 422; facsimile, last page, 423. 

Henry VI. Pt. I, 424-427; facsimile, first page, 
428; facsimile, second page, 429; 430; fac- 
simile, last page, 431. 

Henry VI. Pt. II, 432, 433; facsimile (p. 145), 
434 ; facsimile, last page, 435. 

Henry VI. Pt. Ill, 436, 437 ; facsimile (p. 167), 
438; facsimile (p. 168), 439; 440-442; fac- 
simile, last page, 443. 

Henry VIII, 446-448; facsimile, first page, 449 ; 
450-452 ; facsimile, last page, 453 ; 454-456 ; 
facsimile (p. 218), 457. 

Herbert, George, 23, 78, 603. 

Hero and Leander, 213. 

Heywood, Thos., 211, 213, 214. 

Hidden acrostic, 21. 

Hidden signature, 17. 

His Purgatorie, 234. 

Historiographers, 30. 

Holbrook, R. T., A Poet and his Music, 557, 
611-612, 615. 

Holland, Hugh, 330; facsimile, 331. 

Hotzmann and Bohatta, 614. 

Homer, 5, 611. 



Horatii Flacci, Poemata, etc., 574; Antistius 
Labeo, 574. 

Howard, Lady Douglas, 270. 

Howell, Thomas, 3. 

Hugbald, 87. 

Hymne in honour o] beauty, facsimile (1611), 
286. 

Hymne in honour of love, 231, 274-275; fac- 
simile (1596), 277; facsimile (1611), 279. 

Hymne of Heavenly Beautie, 231, 285; facsimile 
(1596), 287-289. 

Hymne of Heavenly Love, 231, 280; facsimiles 
(1596), 281-283, 284-285; facsimile (1611), 
286. 

Hypnerotomachia Poliphili, The, 89. 

I, the use of the letter, 41 . 

I. M., initials, 328; facsimile, 329. 

Identification, 20; 35. 

Idle toys, 27. 

Ignoto, 180. 

11 Fiore, 612. 

Iliad, 611. 

Immerito, 231, 261-263. 

Impersonality, 15. 

Impudicity, 5. 

'Incipit liber,' 14 

Infolded writing, 21. 

Ingram, J. H., edition of Poe's works, 68, 74. 

Inns of Court, 24. 

Insertion of a cipher, the, 43. 

Intelligencers, 2. 

Intention, 16, 17, 20, 43. 

' Interpretation,' 27. 

Iron and malicious age of ours, 33. 

Is it Shakespeare? by W. Begley, 126. 

Italian genius, 2. 

J, the use of the letter, 41. 

J. M. (initials), 613. 

Jachmannin, 615. 

Jargons, 10. 

Jesus, an acrostic, 71. 

Jew of Malta, The Rich, 211-222; title-page, 
215; dedication, 216, 217; prologues, etc., 
218, 219; last page, 222. 

John. See King John. 

Jonson, Ben, 1, 2, 3, 5, 38, 76, 77, 87, 122, 180, 
290-301, 322-325; facsimile (1623), 324-25, 
550; On ChevWill, 566-7; facsimiles (1616, 
1640), 568; Scriptorum Catalogus, 571; On 
Poet-Ape, 569-71; facsimiles, 572-73; his 
name used in acrostics, 294; 295; 296; 420. 

Julius Ccesar, 478-80; facsimile, 481. 

Junius, the letters of, 65, 613. 



INDEX 



627 



Kelle, Dr. Johann, So. 

Keller, VV., Titus Andronicus, 524. 

Key-ciphers, 11. 

King John, 400, 401 ; facsimile, first page, 402; 

facsimile, second page, 403. 
King Lear, 498 ; facsimile, first page, 499 ; 500- 

502; facsimile (page 3S), 503; facsimile (page 

309), 505. 
Kirke, Edward, 231. 
Kiss, of a Queen, 33. 
Kliiber, J. L., Krt/ptographik, 620. 
Kopp, Arthur, 615. 
Kiinsteleien, 14. 
Kunststuckchen, 14. 

Labeo, 574-577. 

La Chanson de Roland et la NationaliU fran- 

(aise, viii. 
La Grande Encyclopcdie, 40. 
La Poisie du moycn {ige, viii. 
Lais der Marie de France, Die, 86. 
Lamb, Chas., 614. 
L'Amorosa Visione, 53, 81. 
Larousse, 40. 
Law, 4 ; lawmaker, 32. 
Lawes, Henry, 613. 
'Leaders,' in acrostics, 43, 88. 
Lear. See King Lear. 
Lee, Sidney, 124, 290. 
Lcgendes (piques, Les (B^dier), 612. 
Legislators, 30. 
Leonore, 615. 
Leti, Gregorio, 87. 
Lewis, Sarah Anna, 74. 
Lewis XII, 32. 
Libel, 38. 
Lines of type, 42. 
Lipogramraatists, 87. 
Literati, the opinion of, 24. 
Littirature frani;aise au moyen &ge, 612. 
Lives of the Saints (Baring Gould), 619. 
Ljungren (Titus Andronicus), 524. 
Longnon, Auguste, 56. 
Lope de Vega, 87. 
Love's Crueltie, 144, 152, 153. 
Love, disorderly, 82. 
Lores Labour's Lost, 170, 172, 366; facsimile, 

last page, 367. 
Love's Martyr, ISO. 
Lover's Complaint, A, 124, 176, 177. 
Lucrece, 124; title-page, 133; dedication, 134; 

135; 136; first page, text, 137; second 

page, text, 139; 140; 141; last stanza, 142; 

143. 



Macbeth, 4S2 ; 483 ; 484 ; facsimile, first page, 
485; 486; facsimile, last page, 487. 

Macy, John, 194 ; 566. 

Magdalena Elenora Jachmannin, 615. 

Mallory, 612. 

Malvolio, 2. 

Mandeville, Sir John, 612. 

Manes Vendamiani, 24, 619. 

Manning (Cardinal), 614. 

Manor of new elm, 33. 

Manso, Marquis, G. B., Life of Tasso, 563. 

Manuscript, passing among friends, 23i-24. 

Maria, 3. 

Maria Fiametta, 81. 

Marie de France, 86. 

Marlowe, Christopher, 121 ; 200. 

Marshall, Milton's joke on, 557. 

Marston, 38, 180. 

Masson, 557. 

Mask, writing under, 24. 

Mathematics, 2; 620. 

Matthew Tobie, 10. 

Maximilian, 8. 

Meander, 22. 

Measure for Measure, 353, 354 ; facsimile, first 
page, 355. 

Mechanics, 2. 

Mediieval Stage, The (Chambers), 612. 

Mediocria Firma, 416; 419. 

Meiszner, Alfred, 70. 

Merchandise, 4. 

Merchant of Venice, 376; 377; facsimile, first 
page, 378; facsimile, second page, 379; fac- 
simile, third page, 380. 

Meres, Francis, 227. 

Merry Wives of Windsor, 347 ; 348 ; facsimile 
(p. .58), 349; 350; 351 ; facsimile (p. 51), 352. 

Method, structural 'string' signature, 21, 35. 

Mexico, 9. 

Middle Ages, 611. 

Midsummer Nights Dream, 368; facsimile (p. 
151), 369-374; facsimile, last page, 375. 

Milton, John, 1 ; opinion on rime, 39 ; Poem 
in 2d Folio of Shakespeare's Plays, 550-552 ; 
facsimile. An Epitaph, 553; facsimile, On 
Shakespeare, 553 ; Nova Solyma, 554, 555 ; fac- 
simile, title-page of Nova Sohjma, 556; R. T. 
Holbrook'sevidence,557; Italian poems, 557; 
Leonora Baroni, 557; II Teatro delle glorie 
de.lla signora Adriana Basile, 557 ; Francesco 
Massa, 557; Muzio Baroni, 557; joke on Wm. 
Marshall, 557; Ademollo, A., 557; Milton's 
portrait, 557; Italian poems. Sonnet I, 558; 
559; 560; Italian poems. Sonnet II, 561 ; 562; 
563; facsimiles, Sonnet I, 564; Sonnett II, 



628 



mDEX 



565; Tasso's Leonora, 563; Marquis G. B. 

Manso, 563; 613. 
Mirror, 32. 
Modesty, 34. 
Moliere, 613. 
Montcorbier, F. de, 613. 
Moral Proverbs, of Cristina of Pisa, 87. 
Morte d' Arthur, 612. 
Morse alphabet, 9. 
Motives, 18. 
Much Ado about Nothing, 363, 364; facsimile, 

last page, 365. 
Muses Garden, 226. 
Musicians, 30. 
Mysticism, 2. 

Name, omission from MSS., 15; on title-pages, 
IS; conventional use of a false name, 34. 
Nash, T., 87. 
Nestor, his Iliad, 87. 
New Atlantis, 82 ; 554. 
New English Dictionary, A, 53. 
New Holme, 33. 
Newman, John Henry, 614. 
Nichols, John, 54. 

Nobility and Gentry, and laudable sciences, 34. 
Non-structural signatures, 15. 
North, Lord, 87. 
Northumberland MS., the, 126. 
Nose-slitting, 122. 
Nova Solyma, 554-556. 
Nugae Venales, 87. 
Nulls, 45. 
Nuovi Studi Danteschi, 612. 

Obvious meaning, a cover for the cipherer, 43. 

Odium htterarium, 59. 

Odium theologicum, 59. 

Odyssey, 611. 

CEdipus, ii. 

Olympian, winking to himself, 39. 

Omnia per omnia, 11, 12. 

Orators, 30. 

Ormin, or Orrm, 86. 

Ormidum, The, 86. 

Osgood, Frances Sargent, 68. 

Otfrid, 85. 

Othello (Folio, 1623), 506; 507; 508; facsimile, 

first page, 509 ; 510; facsimile, last page, 511 ; 

(Quarto, 1622), 524; 548; facsimile, last 

page, 549. 
'Our English Terence,' 19. 
Outremeuse, Jean d', 612. 
Overbury, 10. 
Ovid, 5. 



Orthodox scholarship, viii. 
Oxford University Press, 24, 290. 

Padielis, exemplum, 63. 

PaUadis Palatium, 43, 223, 227-229. 

Palladis Tamia, 227. 

Pallas, 127; 339. 

Pantagruel, 613. 

Paradise Lost, 39. 

Paris, Gaston, vii, 612. 

Parker, G. H., 126. 

Partheniades, 43, 96, 113-119; authorship of, 
120. 

Passionate Pilgrime, The, 124, 170; "If love 
make me," etc., 170-173; "If musicke," etc., 
174, 175. 

Patriarch, 5. 

Patrons and scholars, 22. 

Pauly's Real-Encyclopadie der Classischen AU 
tertumswissenschaft, 615. 

Pembroke and Montgomery, 302-311; dedica- 
tion to, 312, 313. 

Pen names, conventional use of, 34, 611. 

Pens, other, 23, 24 . 

Percy, Henry, 23. 

Pericles, 182; facsimiles, 185, 187, 193. 

Perspectives, 32. 

Petit Testament, Le, 57. 

Petrarch, The Visions of, 231, 240; facsimile 
241, 613. 

^aVTa(TtK6s, 31. 

Phantastici, 32. 

Philistine in high office, 23. 

Philosophers, 30. 

Phcenicians, 9. 

Pha:nix and the Turtle, 124, 180, 181, 182. 

Photographs, 43. 

Physic, 4. 

Pierre Pathelin, Maistre, 611, 612. 

Pillars, 87. 

Pindar, 87. 

Pirpoole, Manor of, 574. 

Places of Perswasion, etc., 582. 

Plautus, 19, 40. 

Poe, E. A., 68, 74, 620. 

Poems in divers humours, 578. 

Poems written by Will Shakespeare, Gent., 

124, 144; Love's Crueltie, 152, 153; The Un- 

constant Lover, 178, 179. 
Poet, position of, 22, 30. 
Poetry, a toy, 22. 
Poet's honour, the, 32. 
Poquelin, J. B., 613. 
Polia, 89. 
Politic captain, 32. 



rST)EX 



629 



Politicians, 30. 

Pollard, A. W. (Mandeville), 612. 

Pope, 5. 

Popular Ballad, TAe^CGummere), 612. 

Popular poetry, 612. 

Porta, J. B. della, 7, 9, 20, 620. 

Posthumous publication, 23. 

Posts, 9. 

Practical specimens, 45. 

Pride, social or intellectual, 34. 

Priests, 30. 

Prigs, 39. 

Prince of Purpoole, 574. 

Princes' pleasure in poesie, 33. 

Prinzessin von Portugal, 70. 

Private marks, 20. 

Progresses, The, 43, 113. 

Prophets, 30. 

Prudence, 34. 

Psalmes, 40; A Translation of Certaine, 582; 

Dedication to Herbert, 603, 604; facsimile 

of 149th Psalm (1671), 605. 
Pseudonymity, 14-18. 
Public servants, 10. 
Pucci, Antonio, 613. 
Pugna Porcorum, 87. 
Puerilities, 39. 
Punctuation, 5. ' 
Puritan historians, S2. 
Purpoole, Prince of, 574. 
Puttenham, George, 120-122. 

Rabelais, Francois, 613. 

Raleigh, 7. 

Rand, E, K., 619. 

Rawley, William, 120, 211, 213. 

Reactionary policies of teachers, 59. 

Reciprocal Verses, 88. 

Rees's Encyclopa-dia, 47, 52, 620. 

Religious intrigues, 23. 

Religious Meditations, by F. Bacon, 582. 

Remaines, Bacon's, 18. 

Renaissance in Italy, 89. 

Reputation for authorship, 24. 

Reputation for scholarship, 59. 

Resuscitatio (1671), 604. 

Reynardo, 618. 

Ribaldry, 5. 

Richard U, Wi; facsimile, first page, 405; 

Quarto (1597), 524, 525; facsimiles, 526, 527. 
Richard III, 444; facsimile, first page, 445; 

Quarto (1597), 524; Quarto (1602), 524, 

534; facsimiles, 535-537. 
Riff-raff of the pen and ink-pot, 24. 
Rime, Milton's opinion of, 39. 



Rivers, Earl of, 87. 

Rivers, Thomas, 82. 

Roman de Renard, 612. 

Romeo and Juliet, 472; facsimile (1623), 473: 
528; facsimile (1597), 529; .5.30; 531; fac- 
simile (1599), 532; facsimile (1623), 533. 

Rossi, v., 81. 

Roundels, 87. 

Runes, 84. 

Ruines of Rome, 231, 235, 236; facsimile, 237. 

Sachs, Hans, 616. 

Salisburie, Sir John, 180. 

Scholars, and patrons, 22. 

Scholarship, viii. 

Scholastical toys, 5. 

Schum, Wilhelm; Anfangs- und Schlussbemerk- 
ungen, 14. 

Schwob, Marcel, 57. 

Scientific training, 59. 

Scorn meted to a poet or to a philosopher, 31. 

Scribblers for the theatre, 24. 

Scriblcriad, The, 88. 

Seaver, Robert, 569. 

Secret commerce, 10. 

Secrets of Courts, 7. 

Secrets of Our National Literature, The, 16. 

Selden, John, 23. 

Selenus, 7, 9, 20, 63, 620. 

Self-interest, 34. 

Sequence, the word, 35. ^ 

Series, the word, 35. 

Servants, confidential, 35. 

Seven Psalms. The, 604. 

Shakespeare Problem Re-stated, The, 65. 

Shakespeare, first Folio indexed under names 
of plays. Acrostic running through whole 
folio, 522-3 ; the name used in acrostics, 482 ; 
488 ; 520. 

Shakespeare, William, Comedies, etc., 290. 

Shakespheare and Barlowe, 121. 

Shephearde's Calender, 26, S2, 231, 232; title- 
page (1579), 244; Epistle (1579), 245; 
title-page (1611), 248; Epistle (1611), 249; 
Generall Argument (1579), 254; Generall Ar- 
gument (1611), 256-260; Immerito, 261-263. 

Short History, J. R. Green, 3. 

Sibylline oracles, 39. 

Sidney, Sir P., 24, 26, 121, 122, 613. 

Sidonius Apollinaris, 88. 

Signature, 15; structural, 45. 

Single acrostics, 53. 

Skeat, W. W., 41. 

Smallman, Jane, 228. 

Smallman, Stephen, 228. 



G30 



INDEX 



Smith, Logan Pearsall, 7, S. 

Sonnet, showing acrostic, 72. 

Sonnet, inserting a cipher, 53. 

Sonnets, Shake-speare's, 111, 124, 145-147; 

title-page. 149; .\os. 1, S, S, 150, 151; Lok's 

CnifUk, 152, 153; No. 141, 155, 158; Xo. 

14s. 156, 159; Xo. HO, 157, 158; Xo. 5S, 

160. 161 ; Xo. 71, 162-165. 
Southampton, 129, 134, 135. 
Spear-shaker, the, 127. 
Specimens A to X, pp. 45-89. 
Specimens, practical. 45. 
Spedding, 10; 11; IS; 19; 360; 466; 603. 
Spelling, modernising of, 5. 
Spenser, Edmund, 2, 26, 231 ; works indexed 

under their titles. 
Sphinx, ii. 
Spinoza, 613. 
St. Alban, A"iscount, 618; the martyr, 619; the 

name used in acrostics, 294 ; 295 ; 332 ; 446 ; 

452; 475. 
Stanihurst, master, 121, 122. 
Stanley, Stanlei, 520. 
State secrets, 7. 
Steganographia, 7, 8. 
Stockhobn MS.. 56. 
Stoddard, W. L., 334; 472. 
Stowe and Howes, 24, 25, 54, 574. 
Stratford Monument, 332, 333. 
'String' method, 47. 
Stringed instruments, 23. 
Structural signature. 14, 15, 17, 20, 45. 
Sturmius. Johannes, S. 
Suppression of writings by gentlemen. 34. 
Survey of London. Stowe, 54. 
Suspicion, arousing, 43; avoidance of, 43. 
Sussex, 126. 
Swift, Jonathan, 613. 
Symonds, J. A., 89. 

Tamburlaine the Greale, 200-210; title-page, 

203; dedication. 204, 205; first page, 206; 

second page, 207; last page. 210. 
Taming of the Shrey, 384 ; facsimile, first page, 

3S5; 386; facsimile (p. 212), 387. 
Tasso, his Leonora, 563. 
Telegraph, invention of, 9. 
Tempest, The, 60, 61 , 334 ; facsimile, first page, 

335; last Act, 336-339; facsimile. 340-343; 

beginning of acrostic which embraces the 

whole folio, 522, 523. 
Temple, The, 78. 
Tenison, Archbishop, 23. 
Tennyson, A., 614. 
Terence, 19. 



The Dying PeUiean, 234. 

The heU of loners, 234. 

The howers of the Lord, 234. 

The saerifice of a sinner, 234. 

The scucn Psalmes, 234. 

Theatre and cards, 23. 

Theology, 34. 

Timon of Athens, 474; 476; facsimile, last page, 
477. 

Title-page, 2, 15; value as e\ndence, 18, 19. 

Titus Andronicus, 46S, 469; facsimile, first 
page, 470 ; facsimile, second page, 471 : Quarto 
(1600), 524, 53S; facsimile, first page (1600), 
539; 540; facsimile, last page (1600), 541. 

To the great Variety of Readers, 314-321 ; fac- 
simile (1623), 321. 

Torquato Caeliano, 180. 

Tojns, 5. 

Translacing, 4. 

Translation of Certaine Psalmes, 78. 

Transliteration, 20. 

Travelling, by licence, 7. 

Tricks, literary, 2. 

Trifles, 5. 

Triple acrostics, 53. 

Trithemius, J., 7, 8, 20, 63, 620. 

Troylus and Cressida, 458-460; facsimile, 
prologue, 461 ; 462; facsimile, last page but 
one, 463. 

True-love knots, 87. 

Trj"phiodorus, his Odyssey, 87. 

'Tub, my, not yet hallowed,' 574. 

Tuvlfth Xight, 396; facsimile, last page, 397. 

Two Gentlemen of Verona, 344, 345; facsimile, 
346. 

Two Xoble Kinsmen, 1S3, 194, 195; facsimile, 
title-page, 196; facsimile, prologue, 197; 
facsimile, epilogue, 199. 

Typographer's usage, 41, 42. 

V, the use of the letter, 41. 
Users of ciphers, 6. 

V, the use of the letter, 41. 

Varies Effecios de Amor, etc., 87. 

Vega, Lope de, 87. 

Venus and Adonis, dedication, 124-129; au- 
thorship, 127; title-page, 128; last page, 
130, 131. 

Verulam, 618; the title used in acrostics, 212; 
213; 318; 354; 414; 427; 480; 504. 

Vested interests. 59. 

Vigenere. B. de, 20. 620. 

Villani, Giovanni, 613. 

Villon, 56, 176, 613. 



INDEX 



631 



Virgidemiae, 574, 576-7. 

Virgil, 5. 

Virgil's Gnat, 231, 238; facsimile, 239. 

Volpone, 3, 40, 77. 

Voltaire, 613. 

Walsh, W., Literary Curiosities, 40, 8S. 

Walsingham, Sir F., 54. 

Warnke, Karl, 86. 

Warring dogmas, 23. 

Wer ist's ? 614. 

Wheel-ciphers, 11. 

White, R. M., 86. 

Wig-wag system, 9. 

Will, Bacon's last, 23. 

Wilson, Arthur, 82. 

Wings, 87. 



Winter's Tale, 398 ; facsimile, first page, 399. 

Wisdom of the Ancients, Of the, ii. 

Wits Common-wealth, 226. 

Wits Theater, 226. 

Witty enginer, 32. 

' Works of some nature,' 27. 

Wotton, Sir Henry, 6, 7, 8, 9. 

Writing for money, 24. 

Y, use of the letter, 41. 
Yale lock, 9. 
Yvain, 86. 

Zeta, the letter, 3. 

Zig-zag, method of writing, 47. 

Zouche, Lord, 7, 8. 



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